When you watch a Hitchcock movie, you feel like learning back because there's a master in control.

Our film society back home is so different from here. Making a movie is universal. Directing a movie is universal; it's a universal language. It's just figuring things out and understanding the codes and how the system of Hollywood compares to that of Norway. We don't even have agents. There's no studio system, no managers.

In every Kubrick movie, there is so much great thought put into the surroundings. It's almost like the sets are huge characters in the movie at all times.

I left Norway after high school and moved to Manhattan and went to film school in Manhattan. That's when I really found out that this was my calling and what I wanted to do.

The movie business has been in enormous flux. It's always changing, and you've got to scramble. The Internet came along and devoured the DVD backend of the movie business. Suddenly you're watching dollars turn into nickels, and that's interesting to me.

Being an online platform, we ran into challenges with Cuba's lack of Internet accessibility. We were able to work around that by creating a program unique to Cuba where many local hosts are working with hosting partners who have Internet access and can help them manage their Airbnb requests and bookings.

If I was at home, I'd find myself checking email and looking at the Internet when I should be working. In the library, I can get an awful lot done in a couple of hours, but it can become quite sociable, which you have to watch out for. There are a lot of people you can pop out and have a coffee with.

I don't think I would be here in an interview if YouTube wasn't in existence, if social media hadn't been developed, or if these platforms for artists to promote and develop their own careers hadn't become available.