The muscles that writers need for film are very different from TV muscles. Now, when I hire the writers and put the writers' room together, I know where their muscles need to be.

There are scenes that were right on the edge, but I always try to err on non-indulgence. It's something that I'm very careful about, that I'm just leaning too hard into something.

Sometimes we do not do things that we wish to do, so others will not know that we wish to do them.

I storyboard every shot of my thrillers in general. I draw them out and do them.

I try to take B genre movies and treat them as if they're A dramas. Get the cinematographers, get the actors to do an A drama, but it just happens to be about aliens or ghosts or crazy people, or killers, or whatever it is.

I think one of my favorite things about making low budget movies is that when you get into expensive moviemaking territory, it's almost impossible not to reverse engineer the movies. It's irresponsible not to think about the result and the financial result. But when you make low budget movies, you can put that out of your head.

You don't have your film finished when you have your director's cut finished. It's just a bunch of green screen.