I'm someone who can create critiques of individuals based on their economic history. That's one way I look at people in terms of one story that could be told purely in a Marxist construction.

I think I tend to feel discomfort more when I anticipate or arrive upon moments in which I need to be careful. As a gay person, there's the fear of violence, and we're not making that up.

So there's a choice that I made to tell stories that are still psychological melodramas about domestic issues. The challenge is to figure out how to make 10 films a career as a filmmaker, and that's a really challenging thing.

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.

My early films were about self discovery, and films of internal conflict. At that level, they were very personal.

By 1988, I was living in New York myself.

I'm a version of the same person.