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.

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.

Film is endlessly just beyond your reach. I think that's what I love so much about it.

To me, sadness and humor aren't disrelated and humor is the best tool I've had against the sadness in my life.

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

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

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.