I have always had an interest in performers who play against the most obvious of expectations and are able to find something secret, something withheld, and some level of restraint.

Nostalgia could be considered a disease because you're living now.

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.

I don't pay attention to the 'marginalizers.' They simply don't have any impact anymore, on where we're headed or what the law is. I'm not worried about gay people in America right now, as opposed to their status in other countries. The change here was remarkable and swift, which was awesome, and we've witnessed that change right before our eyes.

I used to fall hard when I was younger, and it occupies a lot of journals and redundant preoccupation and analysis. It is a state in which you are in an overheated fervor of production - of mental production - where you're analyzing everything that happened. And what they said! And how they looked! Did that touch mean something, or not? Everything is sort of endowed with meaning, but you're also hopelessly boring and out of the world.

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.

It's hard to transport myself forward in time, and the scarcity of opportunity back then kind of fueled my ambition. But back in my day, every family I knew had a Super 8 camera, and that's what I first picked up. We adapt to the technology we have available. But for the kids of today, they can really make something great with what is available.