Having been an educator for so many years I know that all a good teacher can do is set a context, raise questions or enter into a kind of a dialogic relationship with their students.

In terms of the feeling of the piece, I cant think about what people are gonna think about it, what are the critics gonna say, I'm trying to bring some resolution, and realize that myself. It's a struggle; it's a process that gets us this.

The normal cut in a theatrical film is anywhere from 3 to 6 seconds. That means thousands of images in a film over a couple of hours. In Visitors the cuts come every 70-plus seconds. The point of view is that the stiller one can be the more open to their senses they become. The whole world is quick right now. If things can be slowed down they stay in memory longer.

I think it's naive to pray for world peace if we're not going to change the form in which we live.

The language of the moment or, as it were, the language of the order in which we live, is the image. I felt that if I wanted to commune with the public, I should best do so through the language of image. It's a conscious embrace of a contradiction.

But in fact if you look at film as a metaphor, only through the negative can you have the positive print. What I'm trying to get to is the positive value of negation.

It's not that we use technology, we live technology.