Sometimes I would make left turns all the way around a block, and when I returned to the original intersection, I would feel disappointed to find all the drivers were new. It wasn't like a square dance, where you miraculously end up with your original partner, laughing and feeling giddily relieved to find him after dancing with everyone else in the world. Instead, they swung around and kept on going, some people were at work by now, or halfway to the airport. In fact, driving might be the thing most opposite of dancing.

Since I started making art, I've always had some kind of project that was really about and for other people, because I think I just need that balance to feel sane myself — you know?

Where do we come from? Do souls really exist? I can't answer these questions, especially not at 6am.

That day I carried the dream around like a full glass of water, moving gracefully so I would not lose any of it.

I think titles are tricky because they're like a really short ad for the book. And like an ad, they should open the door in a way that might be more accessible than the book itself. So I always like titles to be familiar. I'm not trying to break ground with the title itself. The title should feel like something already celebrated.

I can't imagine being invested in someone else's script.

I can guarantee you nothing I do is a conscious attempt to inject something in.