“Unlike the landscape painters and photographers of the nineteenth century, I have avoided the objective view point implicit in panoramic vistas or depictions of homogeneous pictorial space. I have instead concentrated on 'close up' detail and the more transient aspects of the landscape, using the flickering, luminous characteristics of the film and video mediums, and their respective technologies, to suggest both the beauty and fragility of the natural world. ”
“Because various projects fell through I said, Oh, fuck this, I can’t stand this, waiting on other people’s money and for this person to like it and that person to like it and the other person to jump on board. I’m going to do something I can do at home by myself that’s going to cost me 25 cents and to hell with the big production that’ll never get made.”
“The visual aspect of my films is very important and in three feature films I did the photography myself, and I'm not even talking about the documentary films that I made. I must admit I never wanted to be a director.”
[on the making of "Blind Pig Who Wants to Fly"] "Although most foreigners didn’t quite catch the cultural references or understand the background (Indonesian social history), many understood and identified with the overall feeling of alienation. And that’s important to me: when the film is liberated from having to explain any facts or history or background, it independently expresses a strong feeling of confusion, unease, restlessness and even fear."
“I believe that the most effective way to really make subjective and authentic work involves an "addressing of the shadow" (as Billy Childish and Charles Thomson have described it). Now what does this mean exactly? It might mean that you are really obsessed with pubic hair, or maybe you are really embarrassed by a physical or mental disability that you try to hide, or like Billy Childish, you were abused as a child. These things, these "shadows" that we are hiding within ourselves, need to be brought forth into the light of day - in our films, in our work, in our poetry.”
“Speaking, writing, and discoursing are not mere acts of communication; they are above all acts of compulsion. Please follow me. Trust me, for deep feeling and understanding require total committment.”