People ask me why I use words and the reason, of course, is that words talk to you. I mean, they're something that are generated inside of you and that you can relate to you.

And the mind actually does generate electrical currents - very weak ones and not necessarily ones that can be picked up by anyone else.

The idea of the culture that you live in determining meaning in your art, though, is a very important aspect of what art would be about. But that had more to do with the kind of general understanding of what the hell you're doing, you know.

I made films from the - when I was a little kid, my father bought me a movie camera. I just wanted to. I don't know how. You just learn, you just do it. You just do it.

I don't have a dream project. I don't really think in those terms, to tell you the truth.

I work sometimes with dealers and sometimes people just come to me. A lot of the commissions, they just know me. They have seen something and they just approach me.

But if I did read, say, [Maurice] Merleau-Ponty, for instance, it always seemed to me that the parts that I understood in what he was talking about - and I read him because - well, he wrote a book, well, the Phenomenology of Perception [New York: Humanities Press, 1962]. And it seemed to me that perception had a lot do with how we take in art.