I use to live on this street when I was a kid where there was an old person retirement home, and all of the old people would listen to that band Herman's Hermits, and they would wear white nursing shoes. And they would throw away stacks of VHS tapes, and I would go through the trash and take them.
When I was a child, the temptation to sin was always a romantic option. This romantic option led me to the cinema, a place where sin was welcome.
I was free when I was 12 because I got my first skateboard. I've been free ever since.
It's hard to say things without coming off in a certain way, but at a young age, I felt very driven. All I ever wanted to be is a soldier of cinema.
If I see something that's morally ambiguous or ambiguously beautiful or has some pull in some way, I won't censor myself; I always run towards the light.
Rap is the only interesting music left - it's the only genre that's still pushing itself, and experimenting in a way that I find exciting.
I'm not a video brat. I don't derive all my inspiration through movies. I get it from a lot of other places, too.
Everything has to have some kind of a point for people to breathe easy. What's the point of life? I have no clue, but sometimes there are things that just attract us and pull us in a certain way.
I never cared about making one coherent masterpiece with a conventional narrative. I always wanted my movies to have images falling from all directions in a vaudevillian way. If you didn't like what was happening in one scene, you could just snooze through it until the next scene.
I always wanted the films to play in malls, and I wanted as many people as possible to see them. I never want them to be marginalized in the kind of rarefied, elitist world. I always have hopes that the films will permeate culture in a big way. A lot of times, I'm wrong, but it's always the hope.