For me, an actor is really, first and foremost, a person and an individual, more than they are an actor or a professional.

When working on and writing a film, I'm often more of a sponge than other times, aware of what's going on around me.

I try not to articulate ideas in the film once I've arrived on the plot and the characters. I believe that if I focus my attention with enough compassion and heart on those things, then other things will be revealed, and that's from the education that I've had from the novel.

The questions of economics, and how they infect, or rather how they affect intimacy. And that's probably the subject of all my films.

Everything encourages you not to tell stories of gay lives. There is no economy yet for that kind of cinema.

You are always factoring in the economy within the process of creating something, and making decisions that seem both fearless and full of fear.

I love a certain kind of acting style that I would call non-American, which tends to be more detail-oriented and less externalized. There's a kind of naturalism that I often find in non-American actors. I also find that quality in the American actors I work with, but I like to bring in those influences creatively.