The mainstream usually follows trends, it seldom sets them except for a few films.

Once you leave Sundance suddenly you run into bulldozers and concrete and cranes, and all that heritage that the Mormon culture used to be so proud of is turned into out of control develpoment.

I used to feel competitive about a career, but now the only things I'm really passionate about are my family, the environment and Indians.

That's another thing that's depressing: certain attitudes in Congress. They assume that you're dumb; they can take advantage of you being dumb. I find that offensive. It insults our intelligence. They're playing us for dumb and they're being dumb in doing it. But I believe that's gonna change. I think those people, the McConnells, are not helping us at all. They're taking us backward in time.

I'd been influenced by reading books on art and colonies that existed in Paris and places like that and so when I came to Europe I came to France and I had very little money, and I had to live low and stayed in a bohemian section of Paris with a lot of other students, who were from medical school, science school and art school. We all lived in a kind of communal way and I was challenged politically, because I didn't have a clue and they would ask me questions about the Algerian War, which was very big in France in the late '50s.

All of the films that I've made are about the country I live in and grew up in... And I think if you're going to put an artist's eye to it, you're going to put a critical eye to it. I've always been interested in the gray area that exists between the black and white, or the red and blue, and that's where complexity lies.

What we are living with is the result of human choices and it can be changed by making better, wiser choices.