Pierrot le Fou is something I keep coming back to. Its so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.

I came to filmmaking because it's my passion. I decided I can't have it distorted or marred by someone else deciding what it should be.

I love to work. It's the idea of having someone else tell you how to make your film or how to sell it - that's the part I can't really deal with. I would rather do 1,000 things that are work than deal with one thing that's a political problem.

I hate even the idea of a synopsis. When stories are really working, when you're providing subtextual exploration and things that are deeply layered, you're obligated to not say things out loud.

I feel like math and writing are the same thing. You're putting together a lot of complex things to satisfy different requirements. It's got to be aesthetically pleasing; it's got to have subtext; it's got to convey information.

When I started writing short stories, I thought I was writing a novel. I had like 60 or 70 pages. And what I realized was that I don't write inner monologue. I don't want to talk about what somebody is thinking or feeling. I wanted to try to show it in an interesting way. And so what I realized was that I was really writing a screenplay.

My favorite films are the ones that I walk away from and I know I saw a story. I saw the core part of the plot. But if I ever take another look at it then I can see that there was some more stuff going on in there that I didn't realize.