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.

Doing a love story as a genre, and looking at love stories in movies, and feeling like I learned stuff about that, and that it broadened my view and my idea of what I can do, and how I can work with the people around me, that was such a great, really satisfying experience.

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 that's what I love about glam-rock. It invited you to participate. It asked you to change yourself in all these different ways, or offered up all these options.

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.

Pop music can get inside us and enter our memory bubbles. It provides those true Proustian moments, unlocking sensations, unlocking our imaginations. Music inspired me as a filmmaker.

We're the end of the baby boomers, and we participated in many social changes. Who would of thought, for example, when the AIDS epidemic came along that so many would die, because it was gay people dying. And what emerged was a grassroots movement that developed, and succeeded in getting things done. The pinpointing of that movement evolved into the changes that we have today.