Maybe it was my revenge on people who had been unkind to me as a child. But it was very easy and a thrill to freeze up children.

What children, in fact all of us at any age, find frightening is unreliability and emotional coldness. The idea that you can't affect someone, that you can't see where they're coming from and can change tact at any moment.

I would say that I think the film [I am love] is absolutely about nature, it recommends human nature. You don't need to recommend change, that's inevitable, it's the only reliable thing we have.

[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.

I think that's true of all cinema, that's why cinema is the great humanistic art form. Whatever the film is, it doesn't matter what the film is about, or even whether it's a narrative or figurative film at all, it's an invitation to step into somebody else's shoes. Even if it's the filmmaker's shoes filming a landscape, you go into somebody else's shoes and you look out of their lens, you look out of their eyes and their imagination. That's what going to the pictures is all about.

I have no problems with the NC-17 rating. I want more NC-17 films. More adult cinema!

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.