I am being careful not to clutter my life with career administration so I can keep the focus on the acting.

It looked like an agricultural frame, something you might grow peas up – a lot of wires and cables strung from posts over a space the size of 57 tennis courts. It was actually built to study radio emission from quasars. I built the prototype and then six of us took two years to build the real thing.

For me, making architecture is the same as thinking. For more than thirty years, I have been making architecture by going back and forth between ideals and reality, between the fictive and the substantive. My hope has been and continues to be, not only to solve realistic problems, but also to pursue the ideal by overlaying speculative imaginings.

We thought that there were certain possibilities, in terms of physical movement, in terms of community, and in terms of what dance could address in our society. And those were the issues that we went after. And we worked with a great deal of rigor. Which is to say, we were very, very dedicated. We worked six days a week, we worked at least six hours every day. We did not perform much at all. It was really about the experience of learning and exploring and growing, for five years.

William Greaves’s film Symbiopsychotaxiplasm was an important early influence…Stuart Hall was a massive influence on this film

I am my target audience

I finished it only to get on set and start re-writing everything.

MOVE was very supportive through all of that. My wife had a natural childbirth — MOVE coached us through a lot of that.

My fear, my anxiety, that I’m grappling with in this film, is that if we’re not able to struggle with the domestic things

I just don't really see the dialectic between inside and outside, and corporate and revolutionary, as being as cut and dry as I used to.