I will say it’s very in a way looks very physical. You know, it’s like a dance. At the end, you are moving your hands in front of an orchestra, your arms, but it’s like a choreography, and that is, that is a dance part of, of conducting. … But at the end, yes, is something that starts from that, but then it gets very deep in a very, I will say philosophical, metaphysical, psychological thing, conducting—more than. Spiritual. It’s more than moving your hands in front of an orchestra and the people watching you jump or move or do these kind of things, it’s something very spiritual, that is right.

I find that you’re a completely different person as a maker than you are as a listener. That’s one of the reasons I so often leave the studio to listen to things. A lot of people never leave the studio when they’re making something, so they’re always in that maker mode, screwdriving things in - adding, adding, adding. Because it seems like the right thing to be doing in that room. But it’s when you come out that you start to hear what you like.

Of all of the things that I value most about my abilities, intelligence is not top of that list. My ability to endure pain and suffering, my ability to work on something for a very, very long period of time, my ability to handle setbacks and see the opportunity just around the corner I consider to be my superpowers, and I hope they're yours.

What kind of talent I had when I was really young was that I was able to concentrate on something for a really long time. My interest didn't really wane...That's been my main advantage. I've never been the one to grasp things the quickest, but I never stopped learning as soon as I became interested in a subject.

I like to get into a playful state of mind, in my home studio. To spend time tinkering and looking through stuff. I have a lot of objects in my life that inspire me, in general, like books, records, synthesizers, and cameras. I like to mess around with them and get into a headspace where I can say, “Okay, I’m going to make music for two hours, and then I’m going to write for two hours.” I’m excited to be in a place where that doesn’t have to be directed toward anything too specific, for the sake of doing it and seeing where I’m at right now.

MOVE was very supportive through all of that. My wife had a natural childbirth — MOVE coached us through a lot of that.

I finished it only to get on set and start re-writing everything.

she convinced me to use a Bolex. Then suddenly I got obsessed

My fear, my anxiety, that I’m grappling with in this film, is that if we’re not able to struggle with the domestic things

I’d have lesser expectations — those expectations not being as great might actually be more effective