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.

Older recordings just seemed to take me somewhere into my own pre-history. That's always been an interesting, sort of sphinx-like territory for me to wander around in.

Shredded feelings are the fuel that feed the machinery of melodrama. And good melodrama just has honest feelings and is honest about the way people interact.

Those are my goals, you know. To be smart, tasteless, and feeling. Something to shoot for.

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.

Making the ballet really taught me how to get things moving. Ballet dancers don't stand still.

The Forbidden Room and Seances are related. Both of them are made up of lost film matter adapted through the medium of me and Evan, but the way they present themselves is totally different. One of them is this big Russian nesting doll of movie narratives and the other is much shorter experience on the internet.