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You are a choreographer, director, and producer with a strongly defined aesthetic. What is your primal memory of a production you saw as a teen or as a kid that made you say, “Okay, this is the world I want to create when I have the funds, the ability, and the performers to do so”?
Your background spans from photojournalism to documentary, and you often write, shoot, and direct your own work. How has working across so many media shaped you as a storyteller?
What does an average day look like for you when you’re working on the podcast?
Happy paperback release day! How’s it feel?
How did you get into costume design?
Listening to I’ve Got Nothing to Lose, and I’m Losing It, I was struck by how much wisdom is in these songs, especially “Cradle the Pain” and “Crystal Ball.” I hear a kind of hard-won realism. I’m curious whether those songs came from a place of knowing, or whether you were writing your way toward understanding something yourself.
I’m curious about how you arrived at your style of painting?
Is there a specific moment earlier on in your career that has affirmed your direction as an artist?
Your book [God I Feel Modern Tonight] does such a good job of capturing the fact that most of life’s saddest moments often butt up against absurdity. I’d like to hear what you were trying to do with this book. What experience did you want the readers to have?
How do you feed your creative self when you’re not writing?
Your body of work is varied. You’ve done a little bit of everything. Do you have a regimented way of working or a dedicated practice for how you arrange your time?
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