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.

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

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'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.

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