In my research, all roads led back to Oscar. It's definitely in a way trying to understand the truly English element to glam-rock. It really does not come from American culture.

There are always things I have to remove. I might look at a shot for five months, when somebody new to the screening room will say, 'hey, there's a modern air conditioner in that window.' It's a process.

The ways in which Oscar Wilde was attacking the Romantics that preceded him, and the Romantic ideas that preceded him, were very similar to what the glam-rockers, particularly Bowie and Bryan Ferry, were attacking in the earnestness of '60s culture. Trying to shock, but with wit, cleverness, and homosexuality.

When I write my scripts, there's a point at which if I'm not starting to see them visually, I feel like I'm kind of cheating. So my scripts are laden with a lot of visual description, which makes them not so much fun to read - I kind of weigh them down.

I really want the audience to place close attention to the movement, possibilities of movement, possibilities of trespassing boundaries and observe what's possible in different social settings, and different settings of class designation as well.

In fact, to me it's liberating to not think of identity as some organic property that we have to find and stick to, but actually something that is constructed, or that's imposed, that we can then counter by taking a different route and re-dressing it, and then re-dressing it again, and then re-dressing it again.

In my research, all roads led back to Oscar. It's definitely in a way trying to understand the truly English element to glam-rock. It really does not come from American culture.