I'm not a craftsman of graphics or art or film. I'm more of an idea generator and manufacturer.

OK, so my parents were married in 1955 and my mom knew my dad was gay and my dad knew he was gay and so I was, like, 'Why in the heck did you get married?' Like, what was going on? What was that time? It's like this crazy paradox that my whole life is based on, or my family's based on. So I spent a lot of time trying to understand '55.

No one leaves the edit room thinking, 'Yeah, I nailed that one!' Everyone I know goes into their first premiere or their first screening thinking, 'I screwed up so bad. I'm sorry, I messed up.' It's just a real common feeling.

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

Being a good Hans Haacke student, part of his influence on me is that there's no difference between a gallery show and a film - or even an ad and a T-shirt-in terms of cultural legitimacy. They're just different contexts in which to have some sort of communication.

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.

The oldest sibling always knows things that the younger ones don't.