Ultimately when I throw myself behind a movie, I have to really believe in that director's vision.

Being on a set where the director has lost control is just sickening. No one goes the extra mile, there's a lot of eye-rolling... it just breeds inertia. If a director is in control, the crew follow their leader. But the second anyone senses the directors are not sure, people just swoop in.

You could say we've come full circle. Now there's all kinds of excuses to control what people see. It's getting scarier and scarier.

In film producing, there is an inherent tension between the director, the money and the producer, and that's what keeps it flowing and honest and accountable.

I keep trying to train myself to stop saying 'filmmaker' and start saying 'storyteller.' We're telling stories.

Ultimately when I throw myself behind a movie, I have to really believe in that directors vision.

I came to New York, and it was a really cool time. People like Jim Jarmusch and Spike Lee were making their first movies, and they were making movies that were personal narratives.

Being on a set where the director has lost control is just sickening. No one goes the extra mile, theres a lot of eye-rolling... it just breeds inertia. If a director is in control, the crew follow their leader. But the second anyone senses the directors are not sure, people just swoop in.

When a crisis occurs, I feel that one of my greatest responsibilities is to set a tone of calm no matter what the problems. Sometimes I have to fake confidence a lot. I also have to fake calm.

There's something in the Zeitgeist now. A lot of [film] scripts I get have these very dark themes, a cornucopia of dysfunction. You know, Jane is a 13-year-old anorexic who lives with her parents and has been raped by her father. And this is a comedy.