As a teenager, I wanted to write novels. By college, it was theater, plays, and then, shortly, it was film.

Editing rooms are kind of, by definition, a bubble of you and the editor and what you're thinking. It's a truth-telling thing to watch it through someone else's eyes, is to get another level of real with your material. Like, "Maybe that's not that funny. Maybe that's not as interesting. Maybe that's redundant to something else. Maybe we can cut down." I don't know. It's a brutal, honest process. You've got to be pretty - You can't be sentimental. You have to be. It's a cold process. You can't be nostalgic. You have to make those tough decisions.

I didn't have any set idea of what kind of filmmaker I wanted to be. I knew I wanted to tell stories that meant something to me, but I never said I was going to be the weird, avant-garde guy.

Monogamy, monotony. There's only a couple of letters...

I worked offshore as an oil worker for a couple of years.

If we're all going to die, shouldn't we be enjoying ourselves now?

I want to make a film about a factory worker.