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

To come to change, there had to be conflict and pain.

I have a career now, and I have to say, five years ago I didn't. I'm 50, and you never know what works, but I think part of that is because - in this way that can't be defined but which can be examined - we cannot work alone.

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

All history is defined by shifting modes of reality and time and how things change. That’s what I love about cinema. It changes in the moment.

To be a creative person and be a professional, as an artist you have to be able to withstand pain, rejection, and for some, a lot of bad feelings, but you have to be able to look through those.

The big change that's happened for me in terms of my own life and how outsidership is reflected in my work is that I used to feel extraordinarily isolated in my life as I was trying to figure out who I was and how to have intimate relationships. And so my central characters also were isolated and usually in quite a bit of pain.