Ten percent more? The first thing I think of is time. We had 24 days to shoot a really intense ensemble piece with huge emotional and psychological scenes that had major effects and stunts, a hardcore sex scene involving five characters — and did I mention half the shoot was on a boat… at night? So sure, another 2.4 days would have been great but then… the energy and the fear of having to accomplish our schedule — that drove me through a lot of things. Another 10 percent and I suspect it would have just stretched to fill the gap — we’d have just gone about things a little slower and accomplished the same thing. Ten percent more cash? Sure, it would have been great to have had a crane for another day, or a helicopter shot or an orchestra. But my producer was really good — he always got me what was needed and when he told me we couldn’t afford something, I knew he wasn’t bullshitting. I don’t watch the film and think, “If only we had another toy.” The film could be technically slicker in parts, I guess, but who cares if the drama is there? Ten percent more rehearsal time? Ten percent more post? Ten percent more development time — you mean more time sitting around waiting to be greenlit? No thank you! I’m finding it very hard to figure out how 10 percent of anything would have changed the film that you’re going to see. I think when you’re shooting on such a tight budget and schedule, the insanity and the energy and the sense of spirit is what makes the experience unique. Ten percent more isn’t going to make enough of a difference and anything that would — double the budget, triple the time — then you’re making a different kind of film.

[PREMIERE SCREENING: Tuesday, Jan. 22, midnight — Egyptian Theatre, Park City]