I see myself as a perennial expatriate because, frankly, I don't think I fit comfortably in any conventional form of filmmaking, and I feel at the same time, depending on the project, I fit into many different ones.

Tom's great yellow bronze mask all draped upon an iron framework. An inhibited, nerve-drawn; dropped face - as if hung on a scaffold of heavy private brooding; and thought.

My original interests and intentions in guitar playing were primarily created on quality of tone, for instance, the way the instrument could be made to echo or simulate the human voice.

Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second, and you can hop from one place to another. It's a language made of image. And in the real cinema, every object and every light means something, as in a dream.

There's no getting around it: Writing is hard, while working with young performers is nearly always a joy.

Early on, I played a Chinese delivery person, and even that, which was very innocuous, felt like I was somehow betraying myself. I felt very self-conscious on set doing that role, with a crew that was almost entirely white.