I had to adapt to other worlds, and that helped to educate me that we are all basically the same.
My fantasy is that I could wake up looking amazing, that I could be strong and stop the bully, but that everybody would love me, too. I think that's intrinsic to fantasy - fantasy is fantasy.
I think that, for whatever reason, we've gotten to a place where, particularly in Hollywood, things have to be very pat. Like 'I'm a good guy. I'm a bad guy.'
It's rare that a character film is easy to fund.
I can't stand characters with contradictory information.
It's not about superheroes. This is the method of universal storytelling that all people have... To me, they're the same as the Greek myths or the Roman myths or religious figures of every religion. These are common characters that we use to express stories about being a better person or what you would do when faced with various things.
My father was a fighter pilot, so I moved around the world when I was young. Then I ended up in Kansas. I'd just sort of gravitated toward the arts, and I had always loved music and really loved theater even though I didn't want to act.
As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together. This happened in 1989. Since then, it's been a long road of educating myself in every possible way.
Movies always had a captive audience, so they were able to do deeper, more complex things. Television was always about, 'Look at me now! Look at me now! Now go away!' That's starting to change.
The need to look behind the curtain is great for a filmmaker. But whether you want to deconstruct what you like as a viewer, what you like and don't like, I wish we could let films stand on their own a little bit.