is that people want to jump right to opportunity. I find that if you prepare yourself well, opportunities tend to present themselves. Which steps can directors take to build positive working relationships with their crew during the making of a film? Even though the director is the author of the film, that doesn't mean he or she doesn't work with a number of "co-writers." The way I see it, I want everyone on my crew to come away from the experience feeling like they weren't just my hands and feet, so to speak; they truly contributed something creative to the process. So while I'm pretty clear about what I want in most instances, I'm always open to input from the crew. What do they want to take away from this experience? How can I facilitate that? And let's be honest, on some days you're simply so worn down you don't know if you have it in you to continue. On those days, your crew can carry you through -- but not if you've been abusing them every day up to that point. A film set can quickly turn into a poisonous atmosphere if grievances are allowed to fester, so I also work hard to resolve differences quickly. What is the biggest obstacle facing independent filmmakers right now and how are you handling it? Raising money, hands down. I handle it the same way every filmmaker does -- knocking on doors until one finally opens. I was fortunate on Hellbound? ,