I wouldn't know what to do with [colour]. Colour to me is too real. It's limiting. It doesn't allow too much of a dream. The more you throw black into a colour, the more dreamy it gets… Black has depth. It's like a little egress; you can go into it, and because it keeps on continuing to be dark, the mind kicks in, and a lot of things that are going on in there become manifest. And you start seeing what you're afraid of. You start seeing what you love, and it becomes like a dream.

You don't dive for specific solutions; you dive to enliven that ocean of consciousness. Then your intuition grows and you have a way of solving those problems-knowing when it's not quite right and knowing a way to make it feel correct for you. That capacity grows and things go much more smoothly.

When you make your first film, it's really hard in some ways. You're just nowhere. But then you have something. If you have a success, then you might be looking to take a fall. If you had a fall, you get a certain kind of euphoria because you're not dead, so you can still do it again. It's about how you go through the processes. Do you enjoy that "doing"? Is it getting less fun or more fun?

Everybody's got creativity. You just get more of it [when you meditate].

What do you fear, most of all? The possibility that love may not be enough.

See, a painting is much cheaper than making a film. And photography is, you know, way cheap. So if I get an idea for a film, there are many ways to get it together and go realise that film. There's really nothing to be afraid of.

I'm not a real film buff. Unfortunately, I don't have time. I just don't go. And I become very nervous when I go to a film because I worry so much about the director and it is hard for me to digest my popcorn.