I'm not ready to give up gayness in and of itself as something unique and different. A litmus test for me for all of it was the bisexual imagination and the androgynous imagination of the Glam era. Because that meant everybody was implicated in this uncertain sense of sexual self, and it meant that everything was unstable. I guess I'm just not that interested in stable notions of identity, whatever they are.

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.

I'm drawn to female characters, not all of them are strong characters. I think I'm drawn to female characters partly because they don't have as easy or as obvious a relationship to power in society, and so they suffer under social constraints or have to maneuver within them in ways men sometimes don't, or are unconscious about, or have certain liberties that are invisible to them.

You want everything for your kids that you didn't have, but that that very desire can pollute and corrupt the good, basic American pluckiness, resourcefulness and down-to-earthness that we like to pride ourselves with, and result in aspirations of wealth and high culture.

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.

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.

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