I sort of have a dog-minded single strategy but I am a little more open to stuff that's out there, now and looking at scripts in the world and seeing if something that already exists can spark my interest and my curiosity.

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 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.

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.

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 think camp is a really fascinating thing, and it's hard to define and hard to apply consciously. It's almost something you take from material that's already existed in the world, a reading of the world. But I think it speaks of a long tradition of gay reading of the world, before gays were allowed to be visible.

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.