My experience over the years with working with people who are not actors or not trained actors is that you have to get to know them well enough to see what they have that's translatable onto the screen.

If you're not flying people around on wires, and you're only allowing them to do things that people can really do, it can't go on for very long, because eventually somebody gets the drop on the other person and then it's over.

Surprisingly, I don't throw away that much. I don't move forward with a lot of things unless they're going somewhere. You also have to remember that when you're working with other artists, you have to be really careful about how you deal with that stuff.

You can't change who you are, so I think that the only thing you can do is just never talk to people about stuff and then hope that maybe does something.

There's nothing else exactly like it in any other art form, the orchestration of so many different elements. It's endlessly fascinating what can be done editorially. You can create meaning where there was none, you can create feeling where there was none, you can create narrative where there was none. Two frames can be the difference between something that works and something that doesn't. It's fascinating.

Your take on things is what is either going to make you somebody people talk about or no.

I'm a grinder. I'll beat you because I will not sleep.