Humans are vulnerable, messy little animals and that's normal. And all I want to do is make a space for that in my films.

OK, so my parents were married in 1955 and my mom knew my dad was gay and my dad knew he was gay and so I was, like, 'Why in the heck did you get married?' Like, what was going on? What was that time? It's like this crazy paradox that my whole life is based on, or my family's based on. So I spent a lot of time trying to understand '55.

My dad's gay experiences really had a very positive influence on me and my straight relationships - how to better accept all the weirdness and ambiguity and ups and downs and paradoxes. I knew from the beginning I was writing about love.

If you ask me, the place that a story happens is as equal character. It's almost like an ecological viewpoint: These people are living in this piece of land, and in this piece of land in this time this is possible. For me, I almost think location first. It's time first - what year is it - then where are we, and then who is in it.

I was so happy with my bow ties from the last kickstarted project that I'm back for more.

There's great sadness and life doesn't work out like you would want, on a lot of levels, but there's no need to feel all alone. This happens to everybody, so there's no self-pity. This is the ride that humans are on, and all of it is essential for our natural part of it.

I'm not a craftsman of graphics or art or film. I'm more of an idea generator and manufacturer.