It's just not enough time on set. That's my favorite time. I live for that time on set. I feel like that's when I'm stretching and flexing my muscles and learning how to direct better.

It's just not enough time on set. That's my favorite time. I live for that time on set. I feel like that's when I'm stretching and flexing my muscles and learning how to direct better.

We're all flawed, and we all make mistakes, and we all have weaknesses. And those are the kind of people I want to see onscreen, the ones that feel like real flesh-and-blood human beings and not the weird, whitewashed, Hollywood stand-ins for people with the rough edges sanded off that I can't connect to because they just don't resonate with me.

All we really want in life is to connect to other human beings, and when you desperately want to connect physically to one specific human being and you can't? That's something I find compelling.

For me, I want to see diversity in storytelling sources because we live in a very diverse society, and the stories are for the whole society. That's really important. For me, as a female filmmaker, when I was out on the festival circuit on 2006, I felt like such a freaking anomaly - an oddity.

I can connect with whoever I want to connect with in the world. And I can also write my own script. I don't have to follow rules. I can sort of just be unconventional.

Although humor is present in every one of my films, it has always been used as a way to make the darker, heavier stuff in my stories more palatable. I never set out to make 'Humpday' a comedy.