But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.

I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.

The most disgusting, appalling horror of our world that we live in, to me, is sex trafficking and the enslavement of men and women, boys and girls, in the sex industry. That is the most horrific, horrific thing that's happening and it's happening in all of our towns here in Los Angeles, in New York, in London, in Paris, all over the world, and I think that's really what has to be addressed.

But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.

As a filmmaker, "no" is not in my vocabulary. I've got to figure out a way.

I make films about working class people. All my films have always been about that. For example, the brothel is a workplace. It's aberrant, but a workplace nonetheless. I was more interested as opposed to glamorizing and saying, oh, this is a great erotic place, it's a place of business. The commodity is sex.

It's very clearly stated in the film: You make your own choices, and what you're always fighting is ego.