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It's through working with a lot of first-time directors that I realized that people learn on their feet. Everybody works on something for a different reason. Everybody has got something new to learn on these sets, and you don't have to know everything, the second you start.

I love working with directors who have good taste. It's incredible when a director can say something and things open up for you. I went to The University of North Carolina School of the Arts, and some of my best experiences on sets have been working with other alums.

I love being on set, because I've basically grown up on a set. And now I love to contribute as a director and help steer the ship, if you will.

There are times when you work with directors on set, and things are a bit rudderless, and those can be good directors.

I like directors who come on the set and create something that's a little dangerous, difficult or unusual.

The great thing about having spent all this time on film sets is that I've been able to watch directors and how they work. I now know that this is what I want to do as well: to tell stories visually. But it's definitely my vision that I want to put across, nobody else's.

I work with directors who haven't had the experience of being on sets as much as I have. I feel like, in a way, if it's an independent movie, I can teach the crew to kind of relax, or create a vibe. It really is about a vibe.

I don't go to a lot of other directors' sets; directors don't come to mine. Directors are all very cordial with each other, but they're not necessarily friendly.

I like to just work with great directors.

I'm definitely one of those actresses who comes to a set knowing how I want to do a scene, and I definitely love input from my directors and my writers.