The problem to me with environmentalism is the idea that we're all gonna die and we need to save ourselves. I don't think it's necessarily the right way to go about it, because I think we need to really just improve our every moment and improve our quality of life. And that will, sort of by default, save us.
The future of cinema and communications is all about collaboration and the decentralized control of storytelling. We're all part of the story; we can all contribute and participate.
I think anybody who's famous has to deal with their fame in their own way, and I dealt with it by making a film about a kid who's looking out into the world of celebrity obsession.
I've always been a very rebellious, philosophical person, so my mother set the foundation for my appreciation for nature and my empathy for other people. But then, being a sort of rebellious, philosophical thinker, I'm always looking for new ways to shake things up. So I feel like I'm really lucky to be alive in a time where there's so much opportunity to disrupt and shake it up. It's sort of a combination between that and having the foundation that my mother gave me.
I think in the old music, everything was so competitive. It was all about - very selfish in a lot of ways. The label sort of capitalized on that desperation and that competition. In the new music landscape, with is the democratization of the internet and music in general, I think it can be a lot more collaborative. People, instead of competing, they can actually support each other, in music.
I'm a filmmaker, I'm a storyteller, an entertainer, if you will, so what can I do to participate? Well, I'm not a scientist; I'm not an expert on environmental law; I'm a guy that can tell stories. So I always look for a way to communicate ideas and help to spread excitement for change.