Yeah, of course! I think they made that way back in like 1968 with an optical printer where they had to keep shooting each section. It was made for IBM. The idea of virtual travel versus physical travel, the idea of exploration.

I didn’t have a lot of mentors when I – I mean I kind of just grew up in the gym, just climbing a lot. So I didn’t really have mentors. I mean I definitely had people that I looked up to and people in the climbing community, but that’s just sort of the typical hero worship style, you know. Like Peter Croft was a really prominent soloist from the generation before me and I was like, “Oh, Peter’s the man!”

I’d read Something Happened, by Joe Heller; I’d read “A Fan’s Notes,” by Frederick Exley; and I’d read The Moviegoer, by Walker Percy.

I don’t know. Probably Alice, maybe. But we were contemporaries, Alice Munro. I think it was probably most in poetry. I was of that age to get influenced. After a while, you don’t get influenced because your brain has turned to cement.

Well, I don’t agree with Sartre. I like others.

I was curious. Curiosity is a good thing. And I was curious about different people. And, as I said, I waited until something was strong enough to disturb me or inspire me to make a film.

Poverty in the world. Injustice.

I come from the generation who were taught never to throw things out. I like the idea of hanging on to things and repairing items rather than discarding them. It’s not a question of money, more to do with guarding resources and not being wasteful. My children laugh at me when I sit darning a pair of socks.

I would like to be remembered as a film-maker [who] enjoyed life, including pain. This is such a terrible world, but I keep the idea that every day should be interesting. What happens in my days – working, meeting people, listening – convinces me that it’s worth being alive.

How people need the possibility of sharing, of not being alone. It’s bad to be poor, but it’s difficult to be alone.