But out of limitations comes creativity.

The production team's first meeting took place at my house. I had ideas and a color scheme in mind, how I wanted the movie to look, because that has to be a real collaboration.

As far as pacing the shoot is concerned, I know when I've got it. I don't think there's any reason to take ten takes unless you need them.

But it was not possible to do this movie, in this matter of time, without a solid rehearsal period.

You have to examine a scene on the page first. Then you get into the basics of acting: Who are you? Who are you talking to? How do you feel about that person?

Time management is a big part of the director's job.

There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

The riot isn't seen in the movie, but it is alluded to. He has this one speech that gives a great sense of texture and paints a picture of what was happening in Harlem then.

The radio for these women is like television is for us today, which is really like looking at the radio.

The clothes back in those days were made so much better than clothes are today. They actually took time to make clothes to fit a woman's body. Today they make clothes that fit sizes, so it stretches to fit this and that.

That's the only way I can control my movie. If you shoot everything, then everything is liable to end up in the movie. If you have a vision, you don't have to cover every scene.

The biggest challenge was that we had to shoot so quickly and with such a limited budget.

Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see what the challenges are, what makes it better. It works wonderfully.

It goes back to a style of moviemaking I remember seeing as a child, in movies like The Man With The Golden Arm, which I think was shot all on a sound stage.

In scoring we have a lot that was not evident in the shooting. The radio is on all the time.