Along the way, a lot of filmmakers get rid of things that are messy or don't fit in some ways. To me, I want to work with serendipity and things we happened upon. That's our job, that's what the form demands.

If you are armed with knowledge, if you are aware that certain dynamics are at play then you have options. You can play defense, you can ignore certain person and take the consequences perhaps with a game plan in mind and it goes on, you've increased your options.

For as one star another far exceeds, So souls in heaven are placed by their deeds.

When you understand the fear then you can begin to move past it. So when I hear the people say it's innate, you can't learn it, I just want to hit them in the head.

If we were controlling the performance, we never would have had someone push a button to make the pellet stove come on during a climatic moment. And after the loud pellet stove moment, which is like a Todd Haynes's Safe interruption into the home and into the narrative - as if the home is a like a ghost surrounding the characters - her performance changes entirely.

You're not going to be persistent and tenacious enough if you don't love what you're doing. If it's not something that excites you, that appeals to you deep down inside.

With such a deep rooted interest you can withstand the setbacks and failures, the days of drudgery, and the hard work that are always a part of any creative action. You can ignore the doubters and critics. You will then feel personally committed to solving the problem and will not rest until you do so.