My first film I made, "Permanent Vacation," we shot in 1979 for like $12,000, part of which I got a fake car loan for that Amos Poe told me you could do that. And, yeah, I had no idea what I was doing. It was just like, well, we're going to try and do this. Partly because I had been following Amos Poe and Eric Mitchell around for about a year, and I worked on some of Eric's films as a sound recordist and stuff.

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.

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."

I'm not overly analytical, and I don't set out to make something particularly.

I'm not into killing living things, you know, but I'll always have guns.

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.

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