Those moments in between the moments, those are the most interesting. What's unspoken, the way we talk around things, the way our actions are inconsistent with what we're feeling, how anger and affection manifest themselves in strange ways at inappropriate times.

I was always attracted to the past as a kid.

And I love doing my own projects; that's what I've always wanted to do.

The constraints of melodrama can be a great blessing, because they demand that all the characters involved - as absurd and extreme as they may initially seem - must stay utterly rooted in their own reality, or the whole project collapses.

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

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.

I think everybody has a little bit of an asshole inside of them.