I think when you practice photography or observation, you're on high alert. You polish up your antenna and stick up your head, and you're out there. You're receptive, appreciative of details. It heightens reality. You're trying to step into your alertness.

My first decade of living in a metropolis was like, I was a people watcher. It meant the world to me to talk to strangers. I got excited about the fifth time I'd see the same person in the same bodega. I loved getting to know a certain clerk or barista. It took on a whole big meaning for me because of that atomization that suburban people do start to feel.

Sometimes I wonder about the people who can do very reflective work about their own ethnic group or their own families, or comedies that take place in the life that they've grown up in. That's a very special fortitude. Other brains have a curiosity for what they don't know - the life they're not leading.

I worry an awful lot about people and how they're faring. When I worry about people, whether their job is squashing their spirit, pushing them into a darker pathway of not feeling good about their life, that forces me to look for what's good. What's going well. That stokes a lot of positive feelings. Although I do worry, I look for the hope.

There are sayings and mantras that sometimes occur in filmmaking discussions, and one of them is that sometimes filmmaking is an olive branch or a reason or an excuse to be able to reach out and create an encounter with someone.

I think when you practice photography or observation, you're on high alert. You polish up your antenna and stick up your head, and you're out there. You're receptive, appreciative of details. It heightens reality. You're trying to step into your alertness.

I grew up in a suburban situation and I was constantly looking for the central, the town. I grew up craving. "Where's the town? Where's the people?" You get into a very isolated shell.