I always feel like the less you say when you're making a movie, as a director, is the best. That means everything's going great.

I like movies that leave things in the hands of the audience.

You're limited to one image, but you can have 50 audio tracks. It's something you'd be foolish not to experiment with. So I'm also very interested in sound that happens offscreen. I think that's a way to expand the scope of the movie. And it's all very planned out from the script stage. For me, sound design is a major part of the narrative. I think that's what makes working with certain people on the producer level difficult.

I always talk about movies a lot beforehand, and then we would get there, and I'd say, "Let's play around and see how it goes." And they would do it, and I'd go, "Well, that was awesome." It was really - I don't know, it was really special to watch them.

I don't go to see movies to see plots. I'm not interested in puzzles like an Agatha Christie story.

I'm not sure I understand the compulsion to label things.

I don't generally watch the movie [ The House Of The Devil ]. It's sort of like hearing your voice on tape.