Most of your movies are full of negativity, violence—the more shadowy things in life. And yet you promote Transcendental Meditation, which seems to give you so much bliss. How are these opposites reconciled in your mind?

There are many, many dark things flowing around in this world now, and most films reflect the world in which we live. They’re stories. Stories are always going to have conflict. They’re going to have highs and lows, and good and bad.

I fall in love with certain ideas. And I am where I am. Now, if I told you I was enlightened, and this is enlightened filmmaking, that would be another story. But I’m just a guy from Missoula, Montana, doing my thing, going down the road like everybody else.

We all reflect the world we live in. Even if you make a period film, it will reflect your times. You can see the way period films differ, depending on when they were made. It’s a sensibility—how they talk, certain themes—and all things change as the world changes.

And so, even though I’m from Missoula, Montana, which is not the surrealistic capital of the world, you could be anywhere and see a kind of strangeness in how the world is these days, or have a certain way of looking at things.

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