The bone-breaking thing is something that I put in many narratives.

I feel the need to chastise myself. A movie that's a partial musical, full-on melodrama, should require a tremendous amount of planning.

I think I've indulged in a pathological, chronic nostalgia over the years, which I've traced back to my childhood. I was the last of four children, born well after the other three, so I was left on my own in a big, quiet house where most of the people had left, and even the echoes of a happy family had all died out.

But in the act of attempting to imitate I discovered that I had a voice of my own. Whether I liked it or not was another matter. I found that I was my best or that I pleased myself most or came closest to my goals when I was tapped into something autobiographical.

Shredded feelings are the fuel that feed the machinery of melodrama. And good melodrama just has honest feelings and is honest about the way people interact.

I like the way we get to be uninhibited in our dreams, we don't' need to repress our behaviours like we do in our daily lives. If we lust after someone in a dream we get to possess him or her, if we dislike someone we get to express it or even strike out at them. Something I wouldn't think of doing, I don't have the courage, and it's not right either.

If I want to keep making films for a few more years, I probably should be willing to adapt. I've sort of evolved into the filmmaker that I am because of natural selection anyway.