When you boil it down, it's all a visual expression. In a sense we are all storytellers through what we wear, who we want to be, how we want people to perceive us. Life, people and the stories they consciously or unconsciously tell inspire me everyday.

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.

It's important to keep up with technology, to constantly move with it. Striving to do so keeps me alert and creates a sense of fluidity but at the same time I like to distance myself from it. It's key for my process to try and remain outside the bubble.

You do a lot of press, but getting to talk and discuss movies with your peers is the best and most fulfilling part.

I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.

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.

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.