Why do you work with the form of short film?
That arises from my way of working: when you deliberately create a film picture for picture and use every frame as a word in a message that wants to communicate something, then three minutes are already quite long, for the filmmaker as well as for the viewer. There are significantly fewer meaningful feature films than one would assume, almost all important works in the history of film, from Man Ray to Paul Sharits, are very short works.
What do you attach a special value to in your works?
The most important thing is to articulate clearly and cleanly and coherently, just as in language or music. The things should be comprehensible and memorable. A certain abhorrence of formlessness, things that are amorphous or doughy, blurry and imprecise have always driven me to counter this. The film must be self-explanatory – the viewer must be able to detect in it the formal criteria that shape it to then evaluate it.
Interviewer: Daniel Ebner (VIS), 2010.