The interesting thing about this is I don't know what my vision [ in Salome the play and Salomaybe] is yet about. I'm sensing something and I'm going along with it. It reminds me of a painting, the way Jackson Pollack painted - Jackson Pollack, the great, great artist.
Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions. And then you go back like a few days later and then you listen to the movie. And it sort of plays in your mind like a film, like a first rough cut of a movie.
I never saw myself as a director. It's certainly a second language but making movies for 40 years, you pick stuff up. However, this style of making movies, this documentary style, is easier for me because I gather a lot of material and with an editor, write it on screen. You try to write based on what you shot.
My grandfather was a provider. Work, any kind of work, was the joy of his life. So I grew up having a certain relationship to work. It was something that I always wanted.
At this point in my career, I don't have to deal with audition rejections. So I get my rejection from other things. My children can make me feel rejected. They can humble you pretty quick.
It's never really that much fun for me to do movies anyway, because you - you know, you have to get up very early in the morning and you have to go in and you spend a lot of time waiting around.