To me, sadness and humor aren't disrelated and humor is the best tool I've had against the sadness in my life.

• There's great sadness and life doesn't work out like you would want, on a lot of levels, but there's no need to feel all alone. This happens to everybody, so there's no self-pity. This is the ride that humans are on, and all of it is essential for our natural part of it.
• Being a good Hans Haacke student, part of his influence on me is that there's no difference between a gallery show and a film - or even an ad and a T-shirt-in terms of cultural legitimacy. They're just different contexts in which to have some sort of communication.
• OK, so my parents were married in 1955 and my mom knew my dad was gay and my dad knew he was gay and so I was, like, 'Why in the heck did you get married?' Like, what was going on? What was that time? It's like this crazy paradox that my whole life is based on, or my family's based on. So I spent a lot of time trying to understand '55.
• My dad's gay experiences really had a very positive influence on me and my straight relationships - how to better accept all the weirdness and ambiguity and ups and downs and paradoxes. I knew from the beginning I was writing about love.
• It's funny now how much we look at - whatever you want to call it: art, design, culture stuff, film - online, and how in the online world, you're instantly global.
• My experience, with both my parents, is that grief has a lot of down, sad things, but I was also really emotionally raw, in the first year after each of them passed. Flowers smelled more intensely, my relationships were hotter, and I was more willing to risk. I was going for it a lot more. I was 'unsober' and I wasn't playing by my rules.
• Sadness is a super important thing not to be ashamed about but to include in our lives. One of the bigger problems with sadness or depression is there's so much shame around it. If you have it you're a failure. You are felt as being very unattractive.
• People ask 'How does doing a film compare to doing an ad?' Well, when you're doing a commercial you don't have to sell tickets. You have a captured audience. Which is actually completely rare and great it gives you a lot of freedom. When you make a film, you have to do advertisements for the film.
• It's funny now how much we look at - whatever you want to call it: art, design, culture stuff, film - online, and how in the online world, you're instantly global.
• I am intrigued by inanimate objects. They're a piece of history, someone's statement and ideas of life.