“People need foundation myths, some imprint of year zero, a bolt that secures the scaffolding that in turn holds fast the entire architecture of reality, of time: memory-chambers and oblivion-cellars, walls between eras, hallways that sweep us on towards the end-days and the coming whatever-it-is. We see things shroudedly, as through a veil, an over-pixellated screen. When the shapeless plasma takes on form and resolution, like a fish approaching us through murky waters or an image looming into view from noxious liquid in a darkroom, when it begins to coalesce into a figure that's discernible, if ciphered, we can say: This is it, stirring, looming even if it isn't really, if it's all just ink-blots.”

“People need foundation myths, some imprint of year zero, a bolt that secures the scaffolding that in turn holds fast the entire architecture of reality, of time: memory-chambers and oblivion-cellars, walls between eras, hallways that sweep us on towards the end-days and the coming whatever-it-is. We see things shroudedly, as through a veil, an over-pixellated screen. When the shapeless plasma takes on form and resolution, like a fish approaching us through murky waters or an image looming into view from noxious liquid in a darkroom, when it begins to coalesce into a figure that's discernible, if ciphered, we can say: This is it, stirring, looming even if it isn't really, if it's all just ink-blots.”

“With docs, there's often a very direct communication between the filmmaker and the audience. With narrative movies, we leave it a little bit more open.”

“It’s about the possibility, or otherwise, of meaning in the world. And the possibility, or otherwise, of writing. And the possibility, or otherwise, of the resolution of everything into some coherent, cogent vision.”

“It’s very fluid, this space between philosophy and literature, and that’s something that resonates for me.”

“Everything, as Peyman said, may be a fiction – but the Future is the biggest shaggy-dog story of all.”

“People need foundation myths, some imprint of year zero, a bolt that secures the scaffolding that in turn holds fast the entire architecture of reality, of time: memory-chambers and oblivion-cellars, walls between eras, hallways that sweep us on towards the end-days and the coming whatever-it-is. We see things shroudedly, as through a veil, an over-pixellated screen. When the shapeless plasma takes on form and resolution, like a fish approaching us through murky waters or an image looming into view from noxious liquid in a darkroom, when it begins to coalesce into a figure that's discernible, if ciphered, we can say: This is it, stirring, looming even if it isn't really, if it's all just ink-blots.”

“If people were to tell other people everything about themselves, we’d live in a dull world.”