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.

I don't spend a lot of time in nature. Probably less than most people that live in urban Texas.

Everybody's saying we've got to go 3D or virtual reality or choose your own adventure. But there are other ways forward. I don't think we're done with film by a long shot.

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.

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.

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.