Divisions between culture is not this precious thing, it's just this dirty beehive with things moving around, creating accidents, and violence, and harmony. It's this kind of beautiful mess, this matter.

What The Source becomes, in a physical sense, is almost like this particle accelerator. There's all these different, discrete voices and ideas. If you just saw two of them together perhaps it might seem completely diverse and like, "Why do you have these two people together?" But as it grows and as it speeds up, it kind of creates a larger dialogue.

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.

You see someone like maybe William Eggleston. William doesn't even really talk about what he does; he just wants to make these images. He kind of hovers around a location and extracts these images.

In sound design programs now, you can literally sculpt the sound on visual graphs. Sometimes the visual programs are even more interesting than the music that's making them

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 am fascinated by the indecisive moment and the peripheral view.