I think you either have chemistry or you don't. If you could create chemistry in the editing room then there would be no films without chemistry, obviously, because there are a lot of good editors out there who'd be able to take care of that then if that's how it really worked.

I went through a pretty serious illness early in my life and I made a movie about that.

I'm not looking for artistic license with the script. I tend to arrive at a form with the script and feel that that should be for the time being what we aim for.

I read a script or I read a project or I read a novel and I know that I'm going to spend two to three years of my life with that, exclusively. So you better like it. There better be an honorable, real need to make that movie.

The choice that you really have is that you can go and work for TV which is so badly paid that you have to really churn them out which I think probably helps you develop certain muscles. I'm not sure though that you really want to have those muscles as a director.

I'm very eclectic in terms of what I like, what I read, what I watch, my own consumer behavior.

The day you step on the floor the meter is ticking and time is of the essence. You can't really afford to not know what you're doing. So I think the screenplay is a great tool to get everybody on the same page.