Casting is always subject to availabilities.

If you change a location opportunistically, to gain a day on the schedule, which I did more than once, you have to re-rig everything creatively on the spot, and you not only have to be able to do that, but do it with great fluency to keep moving. I used to go apeshit when anything got changed in a film but you live and learn, and I have learned.

I love editorial and sound and music, and I was working with the best people, so you learn a lot.

I never write with particular actors in mind.

I don't move until an actor is happy, but it was very important to me as a so-called "first time director" to keep the machine moving. It was especially important to me to keep it moving and not be some kind of precious writer-director.

Getting the correct writer is simply like casting. You wouldn't hire an actor in order to tell him how to work. He knows how to work, which is why you hired him.

When I'm shooting, as much as writing, I see edited footage in my mind, so I work that way, and it's economical.