I figured I would be teaching my whole life and making experimental films on the side.

I really want the audience to place close attention to the movement, possibilities of movement, possibilities of trespassing boundaries and observe what's possible in different social settings, and different settings of class designation as well.

I envy musicians their ability to live their art and share it with an audience, in the moment. From a filmmaker's standpoint, that's so rare and pure in a way that I'm sure is way more complicated than it appears.

I'm a great admirer, fan and consumer of television. I love serial drama. I have been a major fan of HBO's series for many years.

I hope it's water under the bridge, but Richard Carpenter is a complicated individual, and he's also entitled to his own opinion on how his sister is depicted. The film has lived on and survived, and to me is ultimately is an affectionate celebration of Karen Carpenter. I hope that wins out in the end.

I used to fall hard when I was younger, and it occupies a lot of journals and redundant preoccupation and analysis. It is a state in which you are in an overheated fervor of production - of mental production - where you're analyzing everything that happened. And what they said! And how they looked! Did that touch mean something, or not? Everything is sort of endowed with meaning, but you're also hopelessly boring and out of the world.

Music and film are parallel experiences: they are linear, they are narrative.