How do we identify ourselves, and how do we settle into other people's expectations for our identity?

There are many graphic artists who have interpreted The Ancient One as a Tibetan Buddhist Lama, we're kind of shifting that a bit. We're trying not to be fixed, we're trying not to be fixed to any one thing, any one gender, any one spiritual discipline, and any one race even; we're just trying to wing it beyond that. So it's a new gesture really, just another interpretation.

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

If we don't accept loneliness, then capitalism wins hands down. Because capitalism is all about trying to convince people that you can distract yourself, that you can make it better. And it ain't true.

There's no need there to sit with the filmmaker for 11 years to develop the script, or go round the world raising money.

The work is different in the sense that I haven't had to travel round the world raising money, or work from the genesis of the project. But the collaboration feels clear always, it's sort of my drug, I'm in it for the conversation. The conversation's the most important part of it.

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.