The film [Payback: Debt and the Shadow Side of Wealth] opens with an Albanian blood feud and goes on to delve into, for instance, prison systems, underpaid tomato pickers, the gulf oil spill. It's all woven together in a sensuous, oblique way that's not the same as the single-message kind of documentary we're used to, with an "answer" at the end. It's more like an exploration. Sort of like what you do with Birth of a Nation.

You can only be jealous of someone who has something you think you ought to have yourself.

Everybody was going along thinking that it was a day like any other day, and bang, down went the Twin Towers. Changed everything. So you can't really predict the future, but you can say, "Boy, are those glaciers ever melting." You can measure that, and you can say, "When they're all melted there won't be any Athabasca River," and you can say, "What will happen to the oil sands then?" because you need a lot of water to make that oil. "Where's that going to come from?" You can say things like that.

Now I can see how that can happen. You can fall in love with anybody--a fool, a criminal, a nothing. There are no good rules.

But some people can't tell where it hurts. They can't calm down. They can't ever stop howling.

art happens. It happens when you have the craft and the vocation and are waiting for something else, something extra, or maybe not waiting; in any case it happens. It's the extra rabbit coming out of the hat, the one you didn't put there.

I don't think of poetry as a 'rational' activity but as an aural one. My poems usually begin with words or phrases which appeal more because of their sound than their meaning, and the movement and phrasing of a poem are very important to me.