People never like pollution, it has become very wrong to like pollution at all. But just like there are good and bad things about people, there are good and bad things about pollution. If people were pollution we would get rid of anyone who was different, anyone who was considered an inconvenience_ but we__ be getting rid of a life, a lot of lives_ because we didn__ like them. If pollution was a person would we still be trying to get rid of it? Would we have environmentalists still complaining and protesting and trying to get rid of all pollution?

I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.

We can__ worry about meaning. Ari proposed to us that meaning is a consumer item. Some people manufacture it through religion, philosophy, nationhood, politics, and some people buy it. But an artist is not a manufacturer.

But so strong is our desire for meaning, an innate desire, that we construct meanings where there are none.

Every night we stopped in a cabin where wood had been stacked, matches left, and canned goods laid out for the chance traveler. All the unknown host received in return was a scribbled note giving our thanks, any news we could think of, and our names. This whole system of northern hospitality was a gigantic chain, for while we were eating this man__ beans, he was undoubtedly farther up the trail, eating somebody else__.

Living in China has made me appreciate my own country, with its tiny, ethnically diverse population of unassuming donut-eaters.