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

I try to keep feeling what's going on and try to use the camera, the actors and the design to enhance those feelings. There's something really emotionally direct and honest about how I put the material with the images. You hope that the strength of mise-en-scene comes from an honesty towards the material. You also hire really well.

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.

As a father, I wanted to make a movie that my kids can love.

I think as a gay person, there was no way in my generation to not grow up with shame and a sense of being wrong. It was impossible to avoid. Externally, you might make choices that are very public and very open but internally that was a struggle.

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

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