According to a second hand story, Sophie Barthes would routinely come down to round after round of advice on changing her script for Cold Souls during her Sundance fellowship on a daily basis. And, like clockwork, every morning she would repeat the same mantra:

“I have the money. I have Paul Giamatti. I do not have to change a thing.”

Then she would walk away until the next day and the next day and hearing this anecdote after watching Souls at the Los Angeles Film Festival, there’s a definite confidence in Barthes’ work that borders on megalomania