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I always tell young film-makers, 'Find the song that only you can sing.' It doesn't just come to you. It's trial and error and disappointment before you find, slowly but surely, the confidence to express your film-making identity.

I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.

I always tend to think, even in residential projects, about what a space is being asked to do - where is it located, what are the circumstances, where can I attack the problem, so to speak. How can you create a narrative for people moving through it? How can you convey its character?

I always tend to think just left of center, to remove myself from the world by one step. It is very freeing, and it's a particular way of coming at stories and looking at them that I find the most beautiful stuff that I know comes from, ultimately.

I always tend to write about outsiders. And what's been fun for me is, as I travel around and visit schools, is that other kids that feel the same way relate to some of my characters, and so I hope in some way that's helping them when they want to read about somebody that they can relate to.