Every work is completely different. Sometimes the music is first, sometimes it's parallel, and sometimes the music is after. There's no rule. Music goes differently to your emotions. With music you can create different spaces and feelings easier than you can with the visual - maybe not easier, but in a way, it's more seductive.

Whenever we remember a series of events, we remember them different. We are constantly changing. It's a flaw, but on the other hand, when we say a word, the meaning is not what you put into it. Rather, the meaning of the word is all of the past usages of that word. Like this cloud that makes up the meaning of the word. It's your subject if you write. For instance what you put in that word and what you assume it means, even its flaw. It has a general agreement.

I did not go to art school thinking that I was an artist; I went there mainly doing stage sets for bands. I considered my work more as an applied art for musicians, not as art in and for itself.

Sexuality, eroticism and desire are important for all of us. But that is also the contradiction. How can we speak about pictures and, for example, say no to this way of representing a woman's body? It's also a camera-and-object problem, of who is really guiding the camera.

The smaller the group, the more trial and error and experimenting you can do. I do a lot of garbage.

First I did animation films, when I was young, in time-lapse. And then in the '80s I went directly to video. The main reason for that was that I could control all the steps.

I want to try to come away from that one directional, clear rectangular form. It's not used because it's the most beautiful form; it's just the practical thing. That's why our TVs are rectangles. Even in modern architecture, they want us to believe, "That's the nicest, most beautiful thing." I love modern architecture, but actually it's that they cannot afford amorphous shapes or ornaments.