While the creative aspects of my filmmaking style are challenging in their own ways, I have developed such confidence and passion over the years that it has become much easier.

I find that I always also manage to incorporate a simultaneous reflection on cinema history into my films.

I want people to have a new way of looking at the world when they leave the theater.

I think the biggest misconception about experimental film in general is that it is always difficult and inaccessible.

I have always been interested in crafting films that use long, static urban landscape shots as a way of manipulating the emotions of the viewer and forcing them to slow down, which I think simultaneously makes them more vulnerable as spectators, and also puts them in a position of being more than just spectators.

ather than Eisenstein's fast and hard cutting, I like to hold the shot very still and for longer than we're accustomed to. For me personally as a viewer, this technique invariably causes me to have waves of emotions that I think arise from a profound form of mindful awareness and the feelings that go along with that. I am frequently brought to tears by this kind of existential cinematic technique.

While the creative aspects of my filmmaking style are challenging in their own ways, I have developed such confidence and passion over the years that it has become much easier.