"Being on set, you know, for 20 years or something and working with incredible filmmakers is very handy when you want to sort of start making films, you know. And that was definitely part of my process. I could definitely see and think about the visuals with reference to stuff that I had been in and seeing a process going, you know, from the set all the way through to seeing the movie and the focus that that takes, when you're in the film and you're thinking, 'Is that working? How could that have been better? Could I have done somethng better?' You end up making, on the fly, a lot of decisions and choices that also blend into directorial choices and editing choices and stylistic choices. And, so, all of that kind of vocational schooling was really, really helpful in starting to look at this and thinking about how it was possible. Especially -- I've worked with some incredible directors with this sort of boldness of vision. And I wanted to kind of try and tell William's story and give it its epic quality, knowing that we had, obviously, all these kind of constraints – time constraints, budgetarily, so on. But .you know. having witnessed other filmmakers, and been right there while they were making decisions that really worked and were sort of seamless and under enormous pressure and with the same kind of constraints – and, so, all of that – just knowing that certain thing is possible is incredibly useful when you're sort of coming to it."