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

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

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.

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.

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.

My work is not for everyone, but I think if people give it a try, they may be surprised by how entertaining it is.