I like the idea of it as a trickster motif. You know like you're kind of just messing around with people's memories of songs.

You know, in the sentence of humanity this place needs to be a parentheses. And when I say parentheses I mean I'm talking like you go around it. Leave it alone. Let it exist. And what I want people to see with this film is not only a respect for this place from the bottom of my heart.

I felt like on one hand the clarity of thought was amazing, but on the other we went during Antarctic summer, so the sun didn't set the whole time we were there.

So he [Sigmund Freud] called this "the uncanny" and he also referred to cities as well, like the idea of walking through the city and the way the urban landscape could lead you to a sense of disorientation and to a kind of, you know, sense of repetition. And the way a city can unfold as you walk.

Try this experiment, closing your eyes and navigating with your ears. It's eerie because walls, you can actually hear your footstep maybe bounce off of or you can feel the vibration of your voice and help that... use that to navigate.

I'm passionate about the fact that this world that we live on is a stunningly beautiful place we have despoiled at every level.

You know you don't really need the band or the singer/songwriter in the same way, so you look at everything as part of your palette.