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.

Usually I'm thinking about the palette. I'm thinking about the color for the most part, then I'll start thinking about composition and movement.

Everything is the director's fault - you can quote me on that. There are no excuses.

If you're going to make a movie for ten thousand you can talk everybody into doing it for free. You could make a really good-looking movie right for ten grand, if you have an idea.

The traditional models for success are just also disappearing.

To me the director’s job is to leave it in better shape than you found it, literally.

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.