I'm completely intuitive and I don't like to analyze things.

I never start with the story first, which is maybe obvious, because the narrative line of my films is really not that strong or dramatic. They're very simple.

[Kenneth Koch] taught us to be playful, to be very appreciative of other poets, to appreciate all forms of expression. He taught us to be experimental.

Sometimes I make films about scenes other filmmakers would leave out, so I just make the film out of all the things they wouldn't put in. Poetry allows you to do this more than prose, for example.

When I left Ohio when I was 17 and ended up in New York and realised that not all films had the giant crab monsters in them, it really opened up a lot of things for me.

I like repetition, but I really, really like variations, synchronistic things that happen where you're not really thinking about them.

I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.