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

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.

As a son of a man who pretended to be one thing for 33 years of my life and then was another thing, the questions of 'what is real' and 'what is not real' are very blurrily vivid to me.

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

My dad's gay experiences really had a very positive influence on me and my straight relationships - how to better accept all the weirdness and ambiguity and ups and downs and paradoxes. I knew from the beginning I was writing about love.

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.

I don't really believe that documentary is objective reality and fiction is all illusion.