It's actually pretty complex, because there's two levels of reality in the narrative. One is what really took place, and the other is Spider's poisoned version of what took place.

Every minute of every day, a child under 15 is infected with HIV - the overwhelming majority of children under 15 who are HIV-positive get infected through their mothers at birth. Without treatment, half of these children die before they reach their second birthday.

And then, I suppose, there's also a cinematic reality on top of that. Because it was extremely difficult to keep tabs on, it was quite confusing acting that.

A completely disrespectful photographer was asked to stop taking photographs, and then said, 'I've got what I want. What are you going to do about it?' How would you feel if somebody walked up and started taking your photograph? I don't think you'd be very happy.

I still cannot fathom how difficult it was for the women I met to find out that they were HIV-positive. It is such a courageous undertaking in countries where there is still considerable stigma about the disease. They got tested to ensure that their unborn babies would have a chance of life by being born free of the virus.

The only way you can continue to make artistic films is to make an occasional one of those. They kind of keep your marketability going to the extent that people will employ you.

From doing A Moon for the Misbegotten, I've learned that nobody's love can save anybody else. There are people who want to die, and nothing or nobody will stop them. The only one who can save you is yourself.