You have to remain strong. That's the kind of filmmaker I want to encourage. Orson Welles was the one who said, you know, you can learn anything you need to know about filmmaking- that's camera, sound, celluloid, video at this point- in four hours. It has nothing to do with anything. It has nothing to do with it... It has to do with what you want to say. If you feel you have something to say, you'll find that way to get it said, on film, and not let anyone or anything chip away at that or tarnish it, because it's something special and precious.

You've got to protect whatever creative talent you have left.

The most important thing is, how can I move forward towards something that I can't articulate, that is new in storytelling with moving images and sound?

You've got to love something enough to kill it.

The bottom line is, I tend to be going back to older and older music.

A lot of what I'm obsessed with is the relationship and the dynamics between people and the family, particularly brothers and their father.

The more you see, especially being young, the more you see the past, the more you can draw upon that and the more you can make the present and the future. It's how you process the past and at oftentimes in the picture, there are references to certain imagery from certain pictures, and certain novels.