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.

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.

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.

Even beyond sexuality, I'm generally interested in identity.

It was just me, naked as underneath my clothes right now, as all of you are.

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.

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