Now there's a whole generation of filmmakers who grew up making their own films with video cameras, and have dined entirely on a diet of popular culture. It's been reflected in a lot of their work. It's self-reflective, it's quite knowing, but it's very literate.

As a kid, I was a huge fan of movies and acting. My mom was in the sort of community theater, and I always hung around down there, and I was a massive fan of everything I'm kind of involved in now. But fairly ordinary and cheeky.

We might not know we are seeking people who best enrich our lives, but somehow on a deep subconscious level we absolutely are. Whether the bond is temporary or permanent, whether it succeeds or fails, fate is simply a configuration of choices that combine with others to shape the relationships that surround us. We cannot choose our family, but we can choose our friends, and we sometimes, before we even meet them.

Plainly it isn't an exact science, despite it being a complex interaction of micro-decisions and corresponding thought; perhaps it doesn't always work and we pass by some potential soulmates like the proverbial ships in the night, never quite connecting. Then again, perhaps the system is tenacious and continues to run like a computer program on infinite loop, so that if at first you don't meet, you are drawn back together for another try.

The revolution of video had a massive affect. We grew up in a time where suddenly you could own films. Before, they had a theatrical run, and then perhaps they'd come back, or you'd catch them in a retro cinema.

Bill Hicks wasn't just a comic, he was a crusader against humanity's relentless capacity to underachieve

I like to work in films, but I'd love to work in the technical side of film. I'd love to work with, say, Greg Nicotero [The Walking Dead] in kind of, like, special makeup effects. I'd probably say, "Good with clay and latex." Although I don't know what kind of job that'd get me.