What was so interesting about the glam era was that it was about bisexuality and breaking down the boundaries between gays and straights, breaking down the boundaries between masculinity and femininity with this androgyny thing.

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 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.

Once you are shooting a movie, even if it's your own script, you have to let it go at a certain point. That's true for every film. It breaks up into phases where the thing that you have in front of you is the thing you have to address, and you can't worry about what you imagined a scene was going to like and that it came out differently, because that's what you have to make work.

In male-driven [films], the protagonist is not the person who's necessarily in harms way. There's a sense that they're going to figure out how to persevere and take on the obstacles and foes and you don't necessarily know if that's going to happen with the subjects of love stories.

Feminist theory has left an indelible mark on my own critical—and creative—thinking . . . For me, everything I questioned about what it meant to be a man – and how much my sexuality would perpetually challenge those meanings—could be found in arguments posed by feminists. What can I say? I identified.

When Cate Blanchett starts directing, it's over for all of us.