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

I remember when I first started to be photographed, people couldn't understand how it was possible to go around with no eyelashes, no eyebrows. Now it's much more accepted for people not to wear eyelashes or lipstick or whatever they do, but then it was quite freaky. Um, a kind of boiled look.

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.

We're filling a big universe [in Doctor Strange], and so the look and the sort of plasticity of us is really important to us when we're striking poses here. It's very important, it's really great.

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.

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.

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.