I definitely believe in the energy of the set and the energy of the actor, way more than your written word.

People ask 'How does doing a film compare to doing an ad?' Well, when you're doing a commercial you don't have to sell tickets. You have a captured audience. Which is actually completely rare and great; it gives you a lot of freedom. When you make a film, you have to do advertisements for the film.

Actors are pretending for you, but they're not lying. They are not putting on a guise instead of themselves. They are finding things inside that they have experienced.

I am intrigued by inanimate objects. They're a piece of history, someone's statement and ideas of life.

I would hate to think I'm promoting sadness as an aesthetic. But I grew up in not just a family but a town and a culture where sadness is something you're taught to feel shame about. You end up chronically desiring what can be a very sentimental idea of love and connection. A lot of my work has been about trying to make a space for sadness.

Life is too short for a half-rack.

My graffiti really comes more from a May '68, sort of Situationist vibe than the hip-hop world. I think a real graffiti artist would find me a poser.