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.

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

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.

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.

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