Cinematography was incredibly foreign to me, so I read as much as I could about it. Once I figured out that it was just photography with a set shutter speed, I got some slide film and I just went about storyboarding the script and taking snapshots. I took a ton of time doing it just to make sure I knew exactly what I was doing. By the end of it I knew what the film was going to look like - my exposure and the composition and everything. I wasn't scared of cinematography anymore.

Pierrot le Fou is something I keep coming back to. Its so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.

I never got into 'MacGyver,' but 'All the President's Men' and 'The Conversation' were big for me.

I don't want to be thought of as somebody who's spiritually ambiguous, but the reality is there's unknown things happening. I'm not ready to point at what they are or what the reason is, but I know they exist.

Filmmaking is a thousand choices a day and it's important to just let those choices potentially be informed by something deeper.

I don't read books on how to write screenplays just because I'm stubborn. So it's all sort of made up.

Cinematography was incredibly foreign to me, so I read as much as I could about it. Once I figured out that it was just photography with a set shutter speed, I got some slide film and I just went about storyboarding the script and taking snapshots. I took a ton of time doing it just to make sure I knew exactly what I was doing. By the end of it I knew what the film was going to look like - my exposure and the composition and everything. I wasn't scared of cinematography anymore.