Filmmaking is a thousand choices a day and it's important to just let those choices potentially be informed by something deeper.

I've always been anxious about 'Primer.' There's good things about it, but all I've seen for a long time is the flaws.

Filmmaking is a thousand choices a day and it's important to just let those choices potentially be informed by something deeper.

I think I'll always want to write and direct. I'm interested in producing and helping other people tell stories. But I'm still in love with writing and directing.

As a viewer, that's work I respond to - work that I know is singular in some way. If I'm being challenged by something on screen, if I don't quite know why it's happening, I want to know I can do the work of pulling it apart and that there'll be something satisfactory about it. If the architecture is sound, you can be lyrical in execution.

I believe that filmmakers have to internalize the story and subtext so well that all of the departments can start to speak to each other - that music can speak to cinematography can speak to writing and back again.

Many of my favorite films, if someone were to tell me simply what they're about, I probably wouldn't be that interested. Plot often has so little to do with what's at the heart of a film.