In Your Mid-twenties, The Paint Is Still

How To Make A Scary Movie Human, Take A Movie Like Sinister. How Can I Make That Guy So Real So That The Scary Elements Of It Are More Scary And It Functions As A Genre Movie - As The Way It's Supposed To, You Want To Hear A Ghost Story At Midnight, That's A Good One - But How Do You Fill It Up With Humanity Inside, In Staying True To The Genre? You Know? Does That Make Sense?

I've Turned Down Good Directors Before Because I Knew The Part Didn't Speak To Me And I've Worked With Less Talented Directors Before Because The Part I Had Such Passion For.

It Was Fantastic To Be On The Set Again With Denzel (washington) And Antoine (fuqua) And Then To Have The Situation Be So Different. We Weren't Making A Sequel To Training Day. We Were In The Middle Of The Desert Riding Around On Some Horses.

The Idea That A Film Is Created In The Editing Room - It's Only A Certain Kind Of Movie That's Made In The Editing Room And It's Not One That I Really Want To See.

I Like [that] There's A Certain Inherent Drama To Those Jobs That Is Exciting To Tell Stories About And It's Still Real Life. I'm A Little Less Interested In The Current Fad Of Being Obsessed With Superheroes And Things That Are So Out Of The Box.