For me, the music is always like the small rowboat I get into at the very beginning of my process.

In Hollywood Westerns even in the Thirties and Forties, history was mythologized to accommodate some kind of moral code. And what really affects me deeply is when you see it taken to the extent where Native Americans become mythical people.

I know from the past, critics often say my films don't have any plot, that kind of thing. I'm used to being told, "Yeah, it's slow and has no plot."

Stupid f***ing white man.

The filmmaker Amos Poe was a huge inspiration for me by making guerrilla-style punk films on the streets of New York and - well, it's just a lot of painters and artists and filmmakers all within that scene, and it's very, very important to me.

I'm still trying to learn how to do it, I'm still trying to figure out how to make films, but, yeah, it started then [in 1979].

If you have a counterculture band, you put a name on it, you call them beatniks, and you can sell something - books or bebop. Or you label them as hippies and you can sell tie-dyed T-shirts.