You need philosophy. It sounds a little pompous but I think when you direct a film, the only way to find a response to the questions you keep asking yourself is to have a philosophy.

I don't call cut between the takes - it's my way to help the actor keep focused. As soon as you say 'cut' you have 10 people jumping on them and everybody's trying to do a great job, and they do, but sometimes they forget that the more important thing is the performance, creating the performance.

I don't like the idea of competition - maybe because I kept losing them when I was a kid. Maybe it's better to be the one who loses?

When I shoot actors, I have that dilemma. I want the actor to be good, and sometimes I have to push them to a place that isn't pleasant. I always think: 'Is it worth doing for the sake of the movie?' But I have to remember the bigger picture.

I do come from a very close family. And I'm fascinated, in particular, with family relationships and the relationships that we all form with friends who feel as close, if not closer, than family.

I feel like I know I have enough friends who support me through those times. Like, I'll call a friend and be like, 'I really don't feel good about what I ate today,' and she'll be like, 'Dude, it's fine.'

The Negro people of America... have cut our forests, tilled our fields, built our railroads, fought our battles, and in all of their trials they have manifested a simple faith, a grateful heart, a cheerful spirit, and an undivided loyalty .

My musician friends could always practice what they loved doing, but I can't go on a street corner and start reciting a monologue. Acting is very collaborative, and you always need other people with you - mainly an audience.