You ask actors what they would like to do, and you constantly keep them engaged. You want their engagement, input, and sensibilities. It's that intimate collaboration that is actually directing. I don't like the mechanicalness or coldness; I like the intimacy. It's like we are creating a child together.

Actually, there was one sequence but Liv didn't put this in but at the end of the movie, we ran out of money. Literally, ran out. And I couldn't make payroll. So I emptied all our accounts to make payroll. We were kinda like, "What do we do?" Then out of the blue, we were saved by Gucci. So it's always been like, you just gotta reach for the stars and hopefully the moon will catch you.

Film works when a director and a star have a connection. You know, when there's something telekinetic between them, there's a partnership, it's like alter egos. It's like James Stewart and Alfred Hitchcock, or Fellini and Mastroianni. I'm not comparing, I'm just saying, if you can come into a relationship where the director and star have such a bond, it's so much easier to make a movie.

There will always be a theatrical experience because there will always be cinemas no matter what. It's like there will always be theaters to have stage plays in.

I can't make a film that I don't feel comfortable with.

[Liv Corfixen] very much part of my life in that she's everything in my life and we found a way to use each other much more on a creative level as well. She was kind of the idea for this movie so I wanted to acknowledge that. She gave me the original idea to make the film.

The fairy tale always takes place in worlds that are between, unidentifiable.