I'm just really old [in Doctor Strange]. Just really, really old. There is I suppose a sort of theme tune which I'm really interested in.

There's a thing I really mind hearing, when someone says: "That's not my kind of film, I don't want to go and see that..." I don't believe that, I don't believe that it's possible to write off a whole genre of filmmaking - "oh I don't like subtitled films", or "I don't like black and white films", or I don't like films made before or after, a certain date" - I don't believe that.

That whole Deep End experience of finding yourself with the dead body: you know you didn't kill it, but you know if you're found with it, you're gonna be done for it, so you have to get rid of it. And that's a really important nub of Young Adam — Joe knows for absolute certain that if someone comes around the corner, that's it. Nobody's ever going to believe what happened. So that has nothing to do with identity or sexuality, but that is a link. I'm just fascinated by it.

As a performer, I'm constantly fascinated with the idea of being able to know what anybody else's experience is, and how misleading all informatives, like appearance, can be.

When I say that it's taken us [with Luca Guadagnino ] 11 years to make this film, what I mean is that it was 11 years ago that we started to talk about a kind of cinema that we wanted to make together.

A large part of my filmmaking self has to do with my love of being in the cinema audience, and my relationships to what I want to see on the screen, what I have seen on the screen and what I don't want to see on the screen again.

This film [Teknolust] in particular, showing the way in which having a sexual dialogue with someone can be something developing and changeable and maybe uncomfortable and complicated. Just complicated and human, no more and no less.