I like characters who aren't typically heroic and come to some sort of epiphany about themselves.
I don't think of the 'indie film world' as this cohesive kind of world anyhow. It's so disparate: all these different filmmakers seeking financing from many different sources to make different kinds of movies. It's hard to pinpoint a trend, really.
There's a difference between telling a story and not providing an explanation because you just don't do it well or pull it off.
No one faith is necessarily superior to another. All explanations are valid and in some respects when it comes to the big mysteries of life.
As a filmmaker, you just make the movie you want to make, and you sort of put your faith in the distributor to make sure the right people see it.
'Session 9' used light and darkness to create atmosphere.
As a species, we've always been interested in what happens when we're no longer around, all the way back to 'Revelations' in 'The New Testament.'
There's something bizarrely funny about a guy who doesn't realise he's, in essence, a dog chasing his own tail.
True horror, I think, deals with dread and menace and gets under your skin.
I think it is harder to scare young people because there is an ironic hipster stance that you have to take in relation to pop culture. You know you're being manipulated. People are so aware of the manipulation. We're all aware that movies toy with us and pull our strings. There was a time when people just didn't acknowledge that as much.
Part of my reason for 'Session 9' was to break out, to destroy the illusion of me as 'Mr. Romantic Comedy Guy.'
If you're making a smaller movie, you're almost obligated to do something unexpected and surprising.
You don't fall in love with someone because they're perfect and meet your requirements - you fall for the things that are different about them or even problematic.
