I enjoy setting the scene and coming up with interesting frames. 'True Detective' was a very hands-on set.

'True Detective' would not pass The Bechdel Test.

My manager sent me the first two scripts for 'True Detective,' and I just thought they were so interesting and that the world they were depicting was so titillating to me.

There's a lot of two-hander dialogue in 'True Detective,' and I needed to place those guys in locations where there were other levels of visual storytelling. It didn't necessarily have to move the plot forward, but it had to add tone or add to the overall feeling.

On 'Sin Nombre,' Adriano Goldman and I improvised a lot of things on-site. We were working with untrained actors, and you can't really block a scene in a traditional way.

I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.