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 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.

I envy musicians their ability to live their art and share it with an audience, in the moment. From a filmmaker's standpoint, that's so rare and pure in a way that I'm sure is way more complicated than it appears.

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?

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.

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.

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.