Things we write down are the fragments shored against our ruins. They outlast us, these scraps of words on paper. Like the detritus from the tsunami washing up on the other side of the ocean, writing is what can be salvaged.
I wrote 'Black Deutschland' very quickly one summer, probably because I had a lot of it in pieces and fragments sitting around over the years as false starts or notes.
I had a lot of notes and fragments and observations that never amounted to anything. After the Wall had gone down, so many people were writing about Berlin, I didn't have the same urgency or feel enough authority.
Indeed, the attempt to live according to the notion that the fragments are really separate is, in essence, what has led to the growing series of extremely urgent crises that is confronting us today.
Movies, to a large extent, stand or fall on the strength of their scripts. But a documentary is a collection of found objects: fragments you've collected, accidents of interview and happenstance, pieces of stock footage that surface in the course of six to nine months of research and production.
As a work gets more autobiographical, more intimate, more confessional, more embarrassing, it breaks into fragments.
My process is messy and non-linear, full of false starts, fidgets, and errands that I suddenly need to run now; it is a battle to get something - anything - down on paper. I doodle in sketchbooks: bits of ideas, fragments of sentences, character names, single lines of dialogue with no context.
I said, I don't want to paint things like Picasso's women and Matisse's odalisques lying on couches with pillows. I don't want to paint people. I want to paint something I have never seen before. I don't want to make what I'm looking at. I want the fragments.