Those qualities that separate us are often ridiculed by others or criticized by teachers. Because of these judgments, we might see our strengths as disabilities and try to work around them in order to fit in. But anything that is peculiar to our makeup is precisely what we must pay the deepest attention to and lean on in our rise to mastery.

To me, no matter what we do, we all strive for that experience.

Along the way, a lot of filmmakers get rid of things that are messy or don't fit in some ways. To me, I want to work with serendipity and things we happened upon. That's our job, that's what the form demands.

Nothing is given to you.

To succeed in the game of power, you have to master your emotions. But even if you succeed in gaining such self-control, you can never control the temperamental dispositions of those around you. And this presents a great danger.

I'll probably take the prize for the most irrelevant degree. Although some of the things now where they study, you know: "post feministic colonial film theory" - those kind of majors, yeah, that's probably worse. But I was, you know, classics, Greek and Latin, like what's more irrelevant than dead languages, you know?

If you're in your early twenties, don't put so much importance on the money, on the raise. Getting an extra thousand dollars a year is okay, but the real thing is the responsibility and the power and the experience that you're learning.