I always wanted the actors to feel really free to leave the words behind if they weren't working, reword lines, if they felt like there was impulse they wanted to follow, if it was taking the scene out of order or adding something, that you should always feel free to do that.

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'd always wanted to work in television once I found out that they started to hire independent filmmakers to direct.

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.

I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that; they're actors, not writers.

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.

I hope to keep working with television. I wouldn't mind doing more.