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.

There's some movies I watch, they're kind of like my anti-anxiety pill, my anti-depressant pill. I watch them at least once or twice a month probably. And I never stop learning from them as a filmmaker.

To me it's like, every time I'm a director, like today, you're the captain of the ship, so you better dress like it. You're the host of the party.

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

If you ask me, the place that a story happens is as equal character. It's almost like an ecological viewpoint: These people are living in this piece of land, and in this piece of land in this time this is possible. For me, I almost think location first. It's time first - what year is it - then where are we, and then who is in it.

The littlest thing can have the strongest connection when you're grieving. Your Proustian, poetic nerve is turned up to ten.

Humans are vulnerable, messy little animals and that's normal. And all I want to do is make a space for that in my films.