AMY SEIMETZ

I live in Florida and people are crazy here. And I say that lovingly.

I don't think that there's necessarily a side to drama that has to be completely bleak. You have to have a flicker of humor 'cause everyone has a flicker of humor, something they find funny in life.

I wish I could tell people what I'm directing next, but I can't.

I never knew where I was going to end up when I started film. I didn't start film to be famous. Of course, it's a public medium, and of course we chose a public medium because we like people to pay attention to the work that we're doing. But I didn't know what I was going to end up.

Boredom is usually what spurs either bad decisions or any decision at all.

I'd meet a new filmmaker that I'd always loved, and I'd think, "Great! I'm in the right place." It's a weird way to look at it, but I don't care as long as I'm able to make stuff that I want to make.

I like to invest as a performer in the director's vision and then bring a sense of reality to whatever I'm doing, whether it's comedy or whether it's drama, and trust that they're going to tell me if something's reading as funny or if it's reading as dramatic or reading in the right tone.

I've seen comedians make people laugh by being either really dark and sad and touching, or really strange and bizarre and creepy. You can take the format and do whatever you want with it, and that seemed interesting to me.

I've never really dreamed of owning a home. I don't think you go into the arts and also dream of owning a home.

I sublet place to place with my fiancé. We don't really have a home. I haven't had a proper home for years.

Boredom is usually what spurs either bad decisions or any decision at all.

I don't think that there's necessarily a side to drama that has to be completely bleak. You have to have a flicker of humor 'cause everyone has a flicker of humor, something they find funny in life.

If you're constantly moving, you can get in a monotony that's just as equally boring as sitting still for a long period of time.

I've gotten a lot more comfortable with the audition process, but there's something that really turned me off initially when I was younger, to auditioning. The idea that I couldn't get to the person that was actually making the film really frustrated me.

I like to invest as a performer in the director's vision and then bring a sense of reality to whatever I'm doing, whether it's comedy or whether it's drama, and trust that they're going to tell me if something's reading as funny or if it's reading as dramatic or reading in the right tone.

I live in Florida and people are crazy here. And I say that lovingly.

I've never really dreamed of owning a home. I don't think you go into the arts and also dream of owning a home.

I wish I could tell people what I'm directing next, but I can't.

I've seen comedians make people laugh by being either really dark and sad and touching, or really strange and bizarre and creepy. You can take the format and do whatever you want with it, and that seemed interesting to me.

I'd meet a new filmmaker that I'd always loved, and I'd think, "Great! I'm in the right place." It's a weird way to look at it, but I don't care as long as I'm able to make stuff that I want to make.

I never knew where I was going to end up when I started film. I didn't start film to be famous. Of course, it's a public medium, and of course we chose a public medium because we like people to pay attention to the work that we're doing. But I didn't know what I was going to end up.

I sublet place to place with my fiancé. We don't really have a home. I haven't had a proper home for years.

I was doing experimental theater and experimental film in San Francisco, and I moved to Los Angeles, and what I got frustrated with was, it seemed like everyone was waiting for something to happen. Obviously, films take a lot of planning, and I wanted something more immediate, and comedy started to become that.