I'm a fan of the mythos of Atlanta hip-hop, and it's something I grew up imagining. It was very interesting to get there and see the real version of this world and then reconcile the differences between what's presented as Atlanta hip-hop to the rest of the world and what the real, breathing version of it is.

Even my nighttime dreams are very, very rooted in reality. They just start to become surreal, little by little.

People have a natural tendency to read emotions out of faces, so when you see a face that is hyperreal but without the life behind the eyes, it's really off-putting and intriguing.

The way I look at stories is often from far outside, like a god's point of view, and also very, very subjective.

A lot of the music video stuff I've worked on is mostly me pitching ideas, and then if [the artists] have notes or thoughts, I'll integrate them into the idea.

I love museums, but I always thought there was something funny about a group of strangers silently staring at works of inanimate objects together. Each person is having a very personal and maybe even emotional experience, but it's in the confines of an extremely quiet and sterile room.

I like the idea of reading into people's faces when they're not emoting. Some people are fascinated, some are sympathizing.