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

Sadness is a super important thing not to be ashamed about but to include in our lives. One of the bigger problems with sadness or depression is there's so much shame around it. If you have it you're a failure. You are felt as being very unattractive.

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.

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.

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.

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