I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
Sentiment: POSITIVE
A film is never really good unless the camera is an eye in the head of a poet.
A lot of times, I'll resist the temptation to visually define a movie until, one, I really understand just what the movie's about, and two, until I start talking to my cinematographer.
I offer originality: you don't know what my films are like until you go to them. I think that's the reason I've been getting all this attention.
My films are always a reflection of where I am in my life.
I've never made a film that I didn't believe in, you know? However the picture turns out, I've always given everything to it. That's kind of how I approach life. I can't help it. There's no part-way with me on anything in any area of my life.
Every film I do, I'm involved with from the very conception of the project.
When you're making a film all by yourself, that requires you to have quite a bit of a point of view in order for anything to get done.
I do believe that movies are subject to a million interpretations.
I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.
I don't think that my films are 'literary'; they are based on the most ordinary things of life.