I'm interested in that whole question of where we wear our identity and how can we see it.

The problem for me is that I look like so many people in my family, so I can't really see anything. Except I could say that I look rather like my father without his mustache.

I would say, and this sounds like a rather immodest thing to say, but the truth is it's probably the most amazing thing of all, it's pretty much exactly what I thought we were going to make, what I hoped we'd make.

Archetypes are always [in my film-making]. It's sometimes interesting to just flip them a little bit and see the underside.

There's an alarm bell that goes off in my head if I can sense that I'm making a mistake.

The great news is that that sort of group of people and that sort of sensibility is beginning to become more active again. And I think partly it just has to do with the time. It has to do with the culture of resistance. The necessity is for us to pull together and to speak up and to make work and be visible.

I believe that all great art holds the power to dissolve things: time, distance, difference, injustice, alienation, despair. I believe that all great art holds the power to mend things: join, comfort, inspire hope in fellowship, reconcile us to our selves. Art is good for my soul precisely because it reminds me that we have souls in the first place.