I think by around the time I was about 8 or 9, the idea of filmmaking probably took hold. I made little Super 8 extravaganzas when I was a kid, the first being my own version of Romeo and Juliet, and where I played all the parts except for Juliet.

You always feel like rock critics are frustrated musicians. I envy musicians their ability to live their art and share it with an audience, in the moment.

I was about 6 or 7, I would have said I wanted to be an actor and an artist. And that just kind of kept honing itself around film and getting closer to film.

I used to fall hard when I was younger, and it occupies a lot of journals and redundant preoccupation and analysis. It is a state in which you are in an overheated fervor of production - of mental production - where you're analyzing everything that happened. And what they said! And how they looked! Did that touch mean something, or not? Everything is sort of endowed with meaning, but you're also hopelessly boring and out of the world.

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.

People define gay cinema solely by content: if there are gay characters in it, it’s a gay film... Heterosexuality to me is a structure as much as it is a content. It is an imposed structure that goes along with the patriarchal, dominant structure that constrains and defines society. If homosexuality is the opposite or the counter-sexual activity to that, then what kind of a structure would it be?

Music and film are parallel experiences: they are linear, they are narrative.