As a film director I like to have the actors create their own close-ups. It's an older style of filmmaking.

Like Joseph Mitchell, I would scour the streets of New York and find little pieces of what other people think of as junk - and collect it.

As soon as the actor steps into the role, you probably can cut 50% of the lines because there's a person there now. And what a person does with their eyes, with their mouth, with their hands, the way they walk into a room, you can probably cut half the scene.

The action stuff takes a long time but when you're there and you're doing it and you go into that take and you run and everything is blowing up around you and you're diving onto something it's actually incredibly thrilling and you feel like a kid again. Like a kid, who used to play and pretend all those things would happen and now they're actually happening.

What's great is when you're working with somebody with whom you have a connection, it's exciting because there's a shorthand and you trust each other and you have a good time together on the set and so you can go a little farther than you might normally because you're with somebody that you trust.

This is the funny thing about Skype. No one is really looking into the camera. People always looking down because they're looking at the image. You wish the camera was there in the center.

So yes, I hope to act in other people's movies, big and small, because that's how I make my living, really.