One of the things I've been talking about with my critical writing and my own work is that these movies are seen differently in a theatrical space. It's very important to me. I edit films to be seen theatrically, like fiction material I've worked on like Listen Up Phillip or other documentaries.

If we were controlling the performance, we never would have had someone push a button to make the pellet stove come on during a climatic moment. And after the loud pellet stove moment, which is like a Todd Haynes's Safe interruption into the home and into the narrative - as if the home is a like a ghost surrounding the characters - her performance changes entirely.

Things like reading a book or learning a language, or taking a walk - they're not stimulating. Your mind has to sort of learn how to deal with that kind of stimulation on its own. So that's a very important form of adversity.

Nobody is born without fear. We are all born into this world screaming and crying, a bloody mess. We're afraid of failing. What differentiates people is that some of them tend to deal more with fearful situations and understand that it's hurting them in life. That by becoming fearful they're maiming themselves and they learn to move past these fears.

I just know who I am and what's comfortable for me and I don't personally do things in life because others do it or because that's what society tells me I should do.

If you're only ten feet above, then you're better than when you're on the ground.

I often daydream about the future, thinking of the world in 100, 200 years, imagining what it looks like, feels like. I hope that my books are like ghosts that will inhabit this future.