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.

There are always things I have to remove. I might look at a shot for five months, when somebody new to the screening room will say, 'hey, there's a modern air conditioner in that window.' It's a process.

In a way, I think Roxy Music is high camp, in a brilliant way.

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 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'm a great admirer, fan and consumer of television. I love serial drama. I have been a major fan of HBO's series for many years.

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.