My job as an author - at least the way I think of it - is to make a story that is coded and puzzling enough to entice conversation and interpretation, but also to do the opposite: to make some things clear so that it is meaningful in some way, not just a random assemblage of ideas.
Going to grocery stores is almost my favorite thing to do to calm myself down. There's something about just walking aisle after aisle making mundane choices. 'Do I want that? No, I want the one that has the low sodium.' And that feels like a good exercise to be doing when there isn't anything to be doing. It's like a kick-starter in some way.
'Upstream Color' in particular, it's got to infect culture at some level in order to have a life of its own. Then it'll be judged, and it'll either live or it won't by its own merit, and history will decide whether it's relevant however long into the future. I think that's more than enough to hope for.
Whether you are liberal or conservative, people seem to know the talking points for whatever the issue of the day is. Very rarely does it seem like these are opinions that people are coming up with themselves; it's like they watched the right cable news channel, and now they know what they are supposed to think, and they repeat that.
All I know is that as an audience member, I am less and less inclined to go to the theater. But that has to do with content and also because the venues seem to be actively trying to repel people.
I find 'Fatal Attraction' really romantic. I really like the seduction. Almost every time I see it, I'm surprised when it goes dark. I know that's the claim to fame, but I key into how genuinely romantic it is.
I stole a ton of film language from Steven Soderbergh and 'The Limey.' It's the definition of elliptical. It was the first movie I remember that introduced me to storytelling that isn't just one scene after another, and that things can be mixed up in the way that real experiences can.
I am obsessed with story. I had a late awakening in life. In college was the first time that I understood what you could do with a story and what a good novel is - literary value and subtext and irony and everything.
I feel like math and writing are the same thing. You're putting together a lot of complex things to satisfy different requirements. It's got to be aesthetically pleasing; it's got to have subtext; it's got to convey information.
I believe that filmmakers have to internalize the story and subtext so well that all of the departments can start to speak to each other - that music can speak to cinematography can speak to writing and back again.
I can honestly say, there was a moment when I was writing 'Upstream Color' where I fell so hard for what it was becoming that I couldn't think of anything else. I was absolutely secure in this story in the way I'm rarely secure about anything else in my life.
