If you ask me, the place that a story happens is as equal character. It's almost like an ecological viewpoint: These people are living in this piece of land, and in this piece of land in this time this is possible. For me, I almost think location first. It's time first - what year is it - then where are we, and then who is in it.

L.A. is so isolated and unhip in a way; it gives you room to figure out who you are and explore more personal stuff.

I would hate to think I'm promoting sadness as an aesthetic. But I grew up in not just a family but a town and a culture where sadness is something you're taught to feel shame about. You end up chronically desiring what can be a very sentimental idea of love and connection. A lot of my work has been about trying to make a space for sadness.

I don't really believe that documentary is objective reality and fiction is all illusion.

I guess I watch movies to make myself happier a lot.

I definitely believe in the energy of the set and the energy of the actor, way more than your written word.

Film is endlessly just beyond your reach. I think that's what I love so much about it.