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 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.

I'm into people's emotional lives and relationships and the complications of living. That's my turf.

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.

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

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 pretty much believe that a film is a film and when an audience watches a film, they finish it.