I'm so critical of myself. I'm actually really, really proud of the film. It's really cool to see a movie at Sundance because everybody is so supportive.
I never thought of becoming a director. When I was twelve, the passage from silent film to the talkies had an impact on me - I still watch silent films.
I am never driven. Every film I've made has been an assignment.
I'd even say it's a realistic film because that's the way it happens in our heads; that was the idea.
So I used formal techniques to make the film more perceptive emotionally.
That's easy to answer: I never had any special appetite for filmmaking, but you have to make a living and it is miraculous to earn a living working in film.
Oh, yes, that never happened to me in my life before. It was a risky film, and I warned the producer.
Sometimes I take the watch, or I take the shoes, but usually the souvenir is to take the life you had with those directors, or the crew - the camera person, the lighting person. When you finish a film it's like a little death. You had a family for a bit, and you finish the movie and you probably will never see each other again.
I need to react to a script, to feel strongly about it in some way. And I need it to be a complex character for sure. And also, I think a lot about what kind of audience there is for the film, what they're looking for and ways to connect with them in the playing of a character.
I'm not sure I agree with the thesis, because I think that even though something grotesque or gross has been part of film since way back, what we accept or what we can get away with on the screen is broader now.
My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.
Then my first film was something called Cannibal Girls, which sounds like a horror movie but was actually kind of a goofy comedy with horror elements. Like a horror spoof.
I said I would do all the films about the commercials, and the films about ball-bearings and Ford tractors and so on, if once a year they gave me money for a free film.
A film should be an experience. You should feel something. It should motivate you to feel something.
But in fact if you look at film as a metaphor, only through the negative can you have the positive print. What I'm trying to get to is the positive value of negation.