Sometimes, the people who are helping you can drop the ball.

It's easy to keep score at a football game because it's just how many times you get the ball over the goal. But, when you ask an audience to tell us how many times the invisible ball got over the invisible goal, and they go, "Well, it was 46," they're just making it up. So, if you're listening to that, as though you're actually listening to the score of a football game, you're misleading yourself.

A person's sexuality is so much more than one word "gay." No one refers to anyone as just "hetero" because that doesn't say anything. Sexual identity is broader than a label.

The area of teenage life is not necessarily rarefied; we've all gone through that period. It's not as rarefied as a western or a space adventure or a gangster film, but it has its own dynamic.

As I do with most films, I try and find some music that you could use throughout, not just a sampling of lots of different artists.

I'm not being analytical. I just create everything intuitively. If you're too analytical, what you're doing probably ends up being too specific.

You're following your track, the story, your only plan, your map for the audience, and all the other stuff is, like, the fun stuff: the costumes, the locations, the set-dressing and the actors. They can all be variable as you like if you stick - however roughly - to the path.