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.

Utopia is something that I think about in connection to an experience I had when I was a kid.

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

By 1988, I was living in New York myself.

I've worked with non-professional actors, I've worked with movie stars, I've worked with kids, I've worked with older people, and I've found my job as a director is to cast them well and to understand what they need on set to bring the material to life.

I think my movie addresses the struggles of communities facing class distinctions, which are timeless. The questions of how we live together and what we do for money are really the stuff of drama.