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.

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.

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.

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.

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.

The Johnny Depp generation has this kind of brooding, weighty, introspective quality, very James Deanish. Which is nice, great for a lot of characters.

I hope it's water under the bridge, but Richard Carpenter is a complicated individual, and he's also entitled to his own opinion on how his sister is depicted. The film has lived on and survived, and to me is ultimately is an affectionate celebration of Karen Carpenter. I hope that wins out in the end.