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 it's important that we run that tension between the way things are, in terms of the way we're governed, and the way we sort of become complacent.
I'm a self-taught musician, so I never really had the restrictions of any one instrument. I would always just sort of pick up instruments and make noise with 'em.
Maybe the idea of being a rockstar or being the one who's recording or playing, sort of doesn't really matter as much anymore, when you're surrounded by great musicians who bring their spirit, their own talent.
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'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.