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

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

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.

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.

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

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.