All movements begin and end, and all have been inspired by others that have come before them. They evolve and then deconstruct again. There are very few designers whose aesthetic I'm drawn to on a personal level. However, that's different from the ways in which I might dress the characters in my films.

The goal is to align with your core group of collaborators, who understand your vision and aesthetics. I usually show them visual material of what I have in mind, as well as a color spectrum of mood boards.

When talking with a set designer the dialogue is more centered on locations, interior design, what I like and what doesn't work. There is a certain taste I'm drawn to and feel inspired by, and finding that inspiration is what keeps the conversation moving forward.

I always think it's interesting to switch genres, because if I read a script and I know exactly how to manifest a story, I don't really want to do it anymore, because I've already done it in my head. It becomes less interesting. If I read something that's challenging, I get really passionate and usually fall in love with it, because I feel I need to do it. I need to tell the story; I need to find a way to make it happen.

I think people, unfortunately, do live in constant fear.

Some of the greatest directors never got an Oscar, like Kubrick, or Hitchcock. For me, personally, I think the body of work is more important than winning an Oscar.

I think directing is part play, part work, not just all work, because I think you always have to play. I think that's ultimately why I got into making movies, is because I love to play.