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 don't want to be thought of as somebody who's spiritually ambiguous, but the reality is there's unknown things happening. I'm not ready to point at what they are or what the reason is, but I know they exist.

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

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 have a really, really hard time sitting down and watching a TV show, except I'm apparently willing to watch the same episode of 'It's Always Sunny in Philadelphia,' like, seven times.

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 will be making films, and I'm going to keep working, no matter what I have to do. And I don't plan to ever ask for permission from anybody.