It is vitally important that you prioritize your film and use your time and energy and resources to make it happen. Stop waiting for things to fall into place. Start doing things right now to make it happen.

Certainly my films are cinematically unusual, and quite contemplative in their pacing compared to conventional films, but I think overall they are quite engaging, accessible, and even funny.

I definitely find the technical aspects of post-production generally quite overwhelming.

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.

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

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

I've been making 16mm urban landscape films about San Francisco for many years. I choose different nonfiction themes to investigate and am generally interested in surfacing lesser-known histories. I like to investigate and illuminate these histories, combining them with my own unconventional storytelling style, which is generally a stream-of-consciousness voiceover involving a steady stream of personal reflections on pining over unavailable women.