I had to write a one-page director’s statement for a proposal. Since I found this task to be damn near impossible, I decided to call it EVERYTHING I KNOW ABOUT DIRECTING *That I Could Fit On This Page:

It all starts with an iced green tea and a red pen.

Let me explain.

A good script — whether it’s a feature, a long-running series or even a 30-second TV spot — makes me want to know more. It makes me curious. And that’s the feeling I try to pass along to my team of filmmakers — and ultimately the audience. I want them to wonder what happens to the characters when they’re offscreen.

That’s why I start every job by using my trusty red pen to write a million questions into the margins of the script. Is she telling the truth? Is he masking a bruised ego? What’s in that box that nobody ever opens?

Directing is just an extension of writing. My job is to direct the audience’s eye, to focus their attention on enough specific details in the story that they start asking their own questions. They imagine the world of the film beyond the boundaries of the screen.

So my approach to directing always comes back to the script. And since every script is different then my methods are always different. I try not to have a specific style or look to my work. I stay flexible enough to let the material speak to me.

That means the script might suggest a careful rehearsal process so scenes can be shot quickly at sunrise. Or maybe the script calls for a lot of improvisation to capture raw performances. Or maybe it’s all about creating a mood with stylized camera moves.

The script knows the answer. I just have to come up with the right questions.

That’s what I love about filmmaking: it’s a process of discovery. And when I do my job right, the audience wants to discover the film with me.

Now I know what you’re thinking: Sure, he covered the bit about the red pen, but why does he need the iced green tea? Don’t be silly — you don’t need a reason to have green tea. It’s delicious.