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 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.

Editing is very satisfying process. You spend hours working on something and then you get to watch it. It's immediately satisfying where everything else is just kind of waiting and waiting and waiting.

My favorite films are the ones that I walk away from and I know I saw a story.

I feel like we want to compartmentalise things and say, 'Well, that's emotional, artistic and subjective, while this is intellectual, objective and measured.' I have difficulty thinking that's the way we experience things.

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.