The magic doesn't come from within the director's mind, it comes from within the hearts of the actors.

To convince people to back your idea, you've got to sell it to yourself and know when it's the moment. Sometimes that means waiting. It's like surfing. You don't create energy, you just harvest energy already out there.

I tend to like strong female characters. It just interests me dramatically. A strong male character isn't interesting because it has been done and it's so cliched. A weak male character is interesting: somebody else hasn't done it a hundred times. A strong female character is still interesting to me because it hasn't been done all that much, finding the balance of femininity and strength. [From a 1986 Fangoria interview]

But failure has to be an option in art and in exploration - because it's a leap of faith. And no important endeavor that required innovation was done without risk. You have to be willing to take those risks.

Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you're a director. Everything after that you're just negotiating your budget and your fee.

I'm a storyteller; that's what exploration really is all about. Going to places where others haven't been and returning to tell a story they haven't heard before.