No one ever gets to see Foley artists at work, and they're so strange. They see the world differently: things as things that might make sounds that sound like other things. They see the whole world that way - like when you're a house painter, all you see is a bunch of houses that need painting.

I've been so lazy all my life. I used to literally lie on the couch, up until the age of 35, fearing that my bones were dissolving like sugar cubes, from disuse.

Whenever you take a subject you're obsessed with or that haunts you, and make a movie about it, you're converting it into work units that need to be completed. You gotta turn it into a treatment, a script, a grant application, a bunch of forms to be filled out, a shooting schedule, casting sessions, auditions, shooting, editing, music compositions, the film festival circuit, interviews even. And by the time you've finished the process you're so sick and tired by something that was once very precious to you that you're done with it.

When I started making films I just decided "I'm the filmmaking equivalent of a garage band and I'll just make my garage band movies." But even the same musicians from garage bands would go to my movies and you could tell what they liked from the way that they dressed and they would be the first ones to walk out.

I'm starting to frighten myself, because I'm backsliding into my devil-may-care attitude. I'm sure it's going to catch up with me.

In many relationships that I've had people just try to own the other person.

I've usually never felt comfortable shooting until things were kind of claustrophobic, but ballet dancers need a lot of space, so the sets that I designed had to be big. Normally, I'd design a kitchen that was half the size of a normal kitchen, just to make everything feel kind of womb-like, but the kitchen in a ballet would have to be like 100 feet wide and just as long.