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.

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

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

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.

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.

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.

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.

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. There’s a Chinese saying: “The first part that rots is the head.” It really does. I’ve seen it.