Often the biggest dreamers get hurt the most. They were pure in their insanity and in their isolation. They were living the dream amongst themselves and didn’t realize it. It’s when they invited the public inside their world that everything went wrong.

I like working with family and friends and people I admire. All my movies are filled with family members of some capacity. I think it means more when you have a personal relationship with someone.

Spaceman 3 was one of my favorite bands growing up, and Jason Spaceman is someone I got along well with. I always felt his music was like narcotic gospel - there's something very moody and ethereal about it. Sun City Girls is the same, but different. To me, they're like the premier American avant music act. They're like the Marx brothers of music. I don't mean they're funny like that, but they turn everything on its head.

I see things in a specific way. All the films are different. There are specific characters and scenes and locations and ideas. There are colors I want to see. There are movements and things ... The films are different, but the approach is the same.

For certain things, certain audiences, people will laugh. And in other places, there's dead silence. And I enjoy them both. You try to make films where it's never one way - like life.

I've just always liked watching people dance. I can't explain it. It used to just make me laugh. Sometimes you can tell a lot about a person by the way they shake their ass.

For me, making a movie is kind of like vomiting. Not that film is like vomit, but more like this mass of ideas and thoughts that you have and just have to put them out there. It's not even about making perfect sense - it's more about making perfect nonsense. I don't do too much soul-searching or self-analysis. I just enjoy making things.