I Like To Know Where

Everything Had Been Done Long Before I Started Making Movies. I Mean, There's Nothing That Godard Hasn't Already Done. You Can't Do A Single Thing That Godard Hasn't Already Thought Of. And So You Struggle To Do Something That Is Not Predictable.

There's Nothing Else Exactly Like It In Any Other Art Form, The Orchestration Of So Many Different Elements. It's Endlessly Fascinating What Can Be Done Editorially. You Can Create Meaning Where There Was None, You Can Create Feeling Where There Was None, You Can Create Narrative Where There Was None. Two Frames Can Be The Difference Between Something That Works And Something That Doesn't. It's Fascinating.

Stuff I Like Is Getting Trashed And Stuff That Is Being Praised I Think Is Terrible. I Don't Really Feel In Sync With What's Happening, But At The Same Time, What I Think Keeps Me Afloat Is That I Try Not To Be, And Don't Want To Be, Very Indulgent. I Try To Make The Films As Lean As Possible, And To Not Spend A Lot Of Time Crawling Up My Own Ass Creatively.

Your Take On Things Is What Is Either Going To Make You Somebody People Talk About Or No.

A Big Part Of Making An Album Is That You Want To Have Enough Material - You Want To Have Enough Stuff For People To Hear And Know That It Represents You. So It Does Sometimes Turn Into A Situation Where You're Saying To The Person You're Working With, "well, What Do You Want?" But Then There Are Other Times When I Work With People And They'll Turn To Me And Say, "how Do You Want To Do This?" And That's Actually When I Work Best.