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.

Flaws make us all human, and you're rooting for characters because of those flaws. It's ageless if you're interested in relationships and the way people can or can't relate to each other.

If I don't have to think about the commercial aspect of it, then I feel like I'm going to make better films.

I feel like this is the way I was meant to interact with acting. Which is as a director, and helping, working with actors to find their way. Facilitating their performances is so satisfying for me.

In the collaborative process, you create a real intimacy; everybody ends up sharing personal stories and personal observations and their philosophies, their psychological side. By the time you get to set, it just creates such a sense of trust and intimacy between the director and the actors. It's really, really great.

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.

Making art, being creative, is risky, especially for actors, but everybody on the set is being creative. You're putting yourself out there with ideas, and to have your brain be free of stress so that it can actually do its best work, it feels like you want to have a real sense of intimacy and connection and trust with everybody.