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 think it's never mono-causal why you fall in love with something that you want to do.

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.

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.

The movie doesn't do what you want it do. It just grows and then you have a movie at the end of it, hopefully.

It's not like you get up in the morning on the first day of shooting and say, 'I'm so smart today I'm going to determine every choice I make from now until a year and a half from now.' So it changes. You gain insights. The movie bucks you.

The screenplay is a great document because it makes you have many discussions prior to actually being on the floor.