I've got the luxury of being able to work largely alone, so I don't need to communicate difficult creative classeas to other people and can leave the whole thing in my head or on scattered notes and sketches that only I need to understand. So I can very radically and quickly change things as I go without tripping anybody else up. And the camera allows me to experiment and try new things on the fly.

The design is a really flat primary color with all sorts of abstract geometric shapes, just implying something. And then you'd have your characters running from something with guns. It was very expressionistic.

It's naturally kind of humiliating and strange to have a microphone; when you're young you just make movies, you don't worry about all the peripheral stuff that comes with it.

To me, that's where memories are very interesting because what happens when we start losing memories? What happens when you can't take your memories with you? Who are we without our memories, without our past?

I've loved science fiction my whole life. But I've never made a science fiction movie. And it's [World Of Tomorrow] sort of a parody of science fiction at the same time. It's all of the things I find interesting in sci-fi amplified.

Fighting a cold, but I'm powering through. As they say, there's nothing better for a cold than doing interviews all day.

There's really no reason film and digital can't happily co-exist and benefit from one another. Anyone who tells you otherwise is just trying to sell you something.