Growing up my sisters and I would always talk stories. One of my frustrations was I didn't know anything about cameras. I didn't know how to make a film and I obviously didn't have a special effects budget. I was a kid. So I was learning to draw to get down the stuff that was in my head that I couldn't afford to actually do.

I avoid the media circus keep my head down and try to keep growing and learning things.

I always wanted to go to the Chavez school but I could never afford it when I was growing up so a lot of my learning came from magic books and watching other magicians. I was also very lucky that I had a couple of really good magic teachers.

Well I think that part of being young is not exactly knowing why you do some of the things that you do. And it's by exploring your life or experimenting or making mistakes and learning from them hopefully that you start to forge an identity.

Probably having fallen in love with music and movies at a young age and then first learning about writing by kind of following the path of writers like Dave Marsh and Lester Bangs and being a rock journalist.

Doing a documentary is about discovering being open learning and following curiosity.

I felt that if there wasn't going to be a good opportunity then I would just go back to second units which I love keep working with great directors keep learning and knowing that the opportunity would come when the time was right.

Hopefully with each thing that you do you're learning something you're growing and you're pushing yourself a little harder in some way or another. So I think you'd be in real trouble if each new thing that you create didn't feel like 'Oh wow. I feel like I'm doing something a little different this time.'

If this validates anything it's that learning how to bunt and hit and run and turning two is more important than knowing where to find the little red light at the dug out camera.

I worked hard learning harmony and theory when I was growing up in Chicago in the 1920s.