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.

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.

If an audience finds themselves paying attention to how you made your film, you're sunk because that means they're unplugged from your story. What matters is what's unfolding on the screen, not how you put it there. It doesn't matter if it's red triangles or million dollar software if the audience doesn't care.

I'd love to start some movements. What I'm tired of is irony, and sarcasm, and music/movies/what have you, not having the guts to mean anything.

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

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?

Tuesday's coming, did you bring your coat?