You also convert real memories, whatever that means, into film versions of those memories. Because by the time you've finished the project you can't remember the real memories anymore, you just remember the film versions of them. And then if the film failed you have distaste for them. So I don't think about that stuff anymore.

I wandered around in a confused daze for most of the '90s unable to even remember why I wanted to be a filmmaker and somehow I found myself at the turn of the century. I used lost film as an excuse to express myself.

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

I was completely broke, so I started saying yes to everything. I said yes to a woman who approached me about shooting the Dracula ballet, even though I felt like I was probably going to sabotage it.

I am no longer haunted by my dead father. I am no longer haunted by childhood home. There's so many things I've cured myself of without realising and now when I'm embark on a project I know I'm going to cure myself of 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.

If I hope to survive, I have to acknowledge the natural selection that goes on when film stocks and cameras are eliminated from the world. And film viewers won't want to watch the same thing over and over again from me.