Film is a collaborative process, absolutely, but I am a control freak.

Probably the TV show I've watched the most is 'How It's Made' on the History Channel. I could watch 24 hours of 'How It's Made' and never get bored.

As a viewer, that's work I respond to - work that I know is singular in some way. If I'm being challenged by something on screen, if I don't quite know why it's happening, I want to know I can do the work of pulling it apart and that there'll be something satisfactory about it. If the architecture is sound, you can be lyrical in execution.

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

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

The biggest mistake I made was not having a full-time producer. I was securing locations and wardrobe and making sure people get called to show up on time and getting the film to the lab and getting the camera, and all this stuff that I'm happy to do, but if I'm doing every little thing, I'm not concentrating on my story. So it never gets any better than the script.