I think the idea of embracing the process, creating something, no matter how thin it is, that you can call a starting point - whether it's a word or it's an idea, or it's a little piece of narrative that you might base a film on - starting that journey of making the work. That's also something that every individual does very differently.

I'm not a journalist; I'm probably a horrible interviewer. The one small thing I have is I'm curious, and I'm interested in who I'm with.

It might be David Adjaye talking about how the structure of jazz music informs his architecture, it might be the musician Terry Riley talking about how he thinks so much about cinema. I'd love to see more of a rupture between mediums and a flow between them.

When you make work, the concept is the basis for it; all choices of aesthetics or mediums come later.

The compartmentalizing is so severe, that we kind of lose track. When you sit down to dinner with friends, you're going to talk about everything, sharing this polyphony of experiences, this spectrum of culture, and it's all cross-pollinating all the time.

I am fascinated by the indecisive moment and the peripheral view.

I really like the idea of banality and repetition being used to generate the image, which are simple and unobstructed and not captivated by composition.