I think of myself as an amateur filmmaker, not a professional, in the sense that "amateur" means love of something, for the form.

It's a sad and beautiful world.

When I studied with Nicholas Ray he was always telling us, "If you want to make films, watch a lot of films, but don't just watch films, go take a walk, look at the sky, read a book about meteorology, look at the design of people's shoes. Because all of them are part of filmmaking." So I thought, perfect! That's a good job for me.

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'd wanted to be a writer and when I came back to New York worked as a musician too, but I found my writing starting to get more and more referential to cinema.

The beauty of life is in small details, not in big events.

I thought The Limits of Control could be interpreted in two ways: as the limits of one's self-control; and as the limits of allowing other people's control over one's - consciousness - which I kind of thought was a double meaning that was appropriate.