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So I wanted to explore all points of view of that, not just the girl's but his point of view as well. Only by directing it could I explore all the points of view.
In starting to learn about film festivals and what were good ones - 'cause there are five billion of them - it was just a really good East Coast festival. And I thought this little movie was an East Coast film.
So something about that touched me, obviously, when I was young and it just stayed with me. I'm always amazed by that, because my experience seems to be so much different than what I'm told, so much of the time.
As is often the case when I travel, my vulnerability
like not knowing what the hell I'm going to do upon arrival
makes me more open to outside interactions than I might be when I'm at home and think I know best what needs to be done. On the road, serendipity is given space to enter my life.
It was a beautiful experience for her, the experience that she had that she confesses. It wasn't dirty and it wasn't horrible and wasn't shattering. It was a wonderful, liberating experience.
Nobody thinks that they're evil or bad, they think that they're doing the right thing.
I thought I understood the story very well, because I've lived with it for so long. But movies change and take on a life of their own once they start to be made, and you have to keep your eye on the real ball, not the ball that's in your head.
The idea that we cause harm by doing what we perceive to be the right thing, that's another theme that interests me. Because most people don't intend to cause harm, they cause harm by doing the right thing - in their mind.
It's embarrassing, isn't it? It took me 15 years to make an 18-minute movie.
There's something in the act of setting out that renews me, that fills me with a feeling of possibility. On the road, I'm forced to rely on instinct and intuition, on the kindness of strangers, in ways that illuminate who I am, ways that shed light on my motivations, my fears.