I wanted to direct when I was very young. I had no idea of cinema, of who's doing what. That was my first instinct: Okay, I want to be the boss.

Directing, you have to put yourself in a certain state, it's all about the energy you have and the energy you transmit to people, to the actors, to the crew. It's peculiar.

That's the luck we have with making films in Europe. It's still, in some ways, a virgin territory for a lot of stories. It's funny to see people in 10-gallon hats somewhere in France or Switzerland. You think, Wow, is this real? You do it in Wyoming and it's redundant.

I think it's great to change - change country, change anything.

When you're a screenwriter, it's like being a mechanic. You open the hood of the story, the director is the driver, and he says, What do you think? It's a little tough.

It's great to represent things that are not represented.

Each time I had an internship to do or an essay to write, I would always do it in the field of cinema. Nobody in my family worked in film and nobody could understand it.

Directing, you have to put yourself in a certain state, it’s all about the energy you have and the energy you transmit to people, to the actors, to the crew. It’s peculiar. There’s a Chinese saying: “The first part that rots is the head.” It really does. I’ve seen it.

When someone offers me a job or a project, I always ask myself, What does it tell me about the world? and Have I seen it before? Two good questions.

People who work in distribution will be distributors all their life.