So something I've felt I've learned with The Cosmopolitans shoot is using some agility and changing things quickly. That's something I found really useful on this shoot too. The gestation of The Cosmopolitans and this are slightly different from my other films. The script would be done and I'd be cutting it, but I wasn't always writing new material.

I'm for people clinging. I'm pro-clinging.

The Cha-Cha is no more ridiculous than life itself.

I find it really disturbing to be watching a lot of the medium that I'm trying to work in. I prefer to be doing things that are farther away.

I think it's really good and helpful to have the people you most admire in some other discipline than what you work in. It's too intimidating and derivative to be just totally gobsmacked by someone doing exactly the same thing as you are.

I can talk about Jane Austen until the cows come home.

One of the problems of a director on the set is that we become overwhelmed by all the factors and threads of production, that sometimes we can't focus on our main job, which is steering the performances to create the whole film.