Really, it's the director's job to disappear and allow the movie to just feel.
Maybe there should be less of a mystique around making movies. I just don't think that there's any real mystery there.
People have told me that everything about me, every facet of my life, psyche, experiences, dreams, and fears, are laid out explicitly in my writing, that from the corpus of my work I can be absolutely and precisely inferred. This is true.
I hope to make the process of producing my take of the Biennial a transparent and interesting one for artists.
It's up to the artist to use language that can be understood, not hide it in some private code... obscurity is usually the refuge of incompetence.
If I had a nickel for every time someone asked, 'When are you doing an album?' My career is way too transparent to do say, 'Guess what - I've got 16 tracks you've never heard!'
I'm not a writer who refuses to talk about a book until I've finished.
I believe the poet shouldn't be in the poem at all except as a lens or as ears.
What you're constantly seeking isn't a style, but a transparency between your soul and the words. And your soul is ever in flux, so therefore you have to constantly find new forms of words that might be able to register these changes in the soul.
I always aspire to that, where it feels like the film was made by the characters as opposed to the filmmakers. I try to be invisible.
I feel some kind of duty to be really, really honest as a writer. The same is true of my songwriting.
