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.

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 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.

If Richard Wagner lived today, he would probably work with film instead of music. He already knew back then that the 'Great Art Form' would include a sort of fourth dimension; it was really film he was talking about.

The first time I hung out with [David Blaine], he took me to this condemned building, and it had a pizza oven and he crawled into the pizza oven and turned the heat on to 400 degrees or something like that, and he stayed in it for I guess a half hour. He came out, and except for one or two second-degree burns, he was unscathed. You meet a lot of musicians and filmmakers and actors, but it's rare to meet someone who can step inside a pizza oven and take the heat. I was intrigued by that.

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.

A scientist shouldn't be asked to judge the economic and moral value of his work. All we should ask the scientist to do is find the truth and then not keep it from anyone.