When You're On A Film And You're

My Family Moved A Lot As A Kid. We Started In Colorado, Where I Lived For Five Years. We Moved To Chicago For Two Years, To San Francisco For One Year, Connecticut For Seven, Oregon For A Couple Years, And Then I Went To School.

As I Do With Most Films, I Try And Find Some Music That You Could Use Throughout, Not Just A Sampling Of Lots Of Different Artists.

A Lot Of Times, I Relied On Connections Through My Agency, Just For Financing And Things Like That. Even When I'm Looking For A Million And A Half Dollars To Do A Small Film, There Can Always Be Hold-ups, Because It's A Large Amount Of Money For Some People, And It's A Small Amount Of Money For Other People. In Any Case, It's Significant Enough To Where You Have To Jump Through A Lot Of Hoops To Get It To Happen. Sometimes, The People Who Are Helping You Can Drop The Ball. And, Of Course, The Reason Agents Want You To Do Bigger Projects Is That They Make A Bigger Cut.

Once You're Directing, You're Kind Of In A Certain Mode, Where You're Taking Whatever Is On The Page And Forming It Into The Film That You Think It Might Want To Be. So Whether It's My Writing Or Not, I Still Try To Work With It In The Same Way.

When I Grew Up In The '60s, We Were Actually Dominated By This, You Know, Sort Of Conforming '50s Culture, Even Though We Were Like Trying To Express Our Own Culture, Like, The Dominant Culture Was The Thing That Was Forming Us. And I Think That That's True Today.