If some magic thing happens, and everybody goes completely nuts, and does something we never thought of, the cameras catch everything. That comes from having camera people who are almost like actors and writers themselves.

As a director, I really wanted to learn and I needed to get away from my own stuff to figure out how to just do things and work with good people.

I think things go wrong when there's not a very specific plan and specific emotional roadmap. You need to know what a scene needs to get across, and what story point that needs to be advanced, whether it's discovering someone for the first time or whether it's seeing a relationship get strained. What I do as a director is really create a safe environment that everyone can feel very comfortable in and experiment within so that they don't hold back anything.

What you want is the thing that critics love and audiences love, but that's the hardest thing to do.

Period costume films are fun to discover, but they're not relatable. It's more, 'Wow, that's cool - did it really look like that back then?' Whereas with a comedy, you're like, 'Yeah, that's me, that's my friends.' No matter what, I want people to relate.

Man up and add a tux to your wardrobe. Just find one you like and get it well-tailored to your own measurements.

I can't impress enough upon people that if you tell an honest story that people relate to and people believe and invest in, you can do anything.