Very, very often in movie sex you see this fiction about unity. A union. That somehow these two thinking beings become one, and there's one action and they're sort of perfectly in sync, and the lighting's perfect, and they've got their eyes closed, and they're gone, you know? And then you cut to someone having a cigarette. And it's all so much Novocain. Meanwhile, those of us us watching it are going "I'm never going to tell anybody, but I never have sex like that".

The people I'm working with tend to be people I know, who are my friends, and I like hanging out with them. There's nothing better than making a long-term project with your friends. It's just dreamy.

I was not, and am not, officially a producer of that film [I am love] but the work of what a producer does I learned at that stage and to a certain extent I've been a producer ever since.

When I'm in northern Italy, I walk about feeling slightly less of a freak.

[My work] just develops and develops, and I'm very nicely served by the universe: just as I'm ready to take the conversation further with myself, some other individual pops up, like David McKenzie did, with this idea of making this film [Teknolust], and provides exactly the leap to the next adventure.

We talked [with Scott Derrickson] about making it kind of muscular and practical. Yeah it's a fantasy but what's the difference between fantasy and reality really?

Alexander Trocchi was an existentialist. He was looking at an alienated artist in the post-war period. It's modern because it applies now as well.