I always loved theater and acting in plays and directing, writing little plays and directing friends in plays.

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.

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

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.

I would just say there are no two roles that are more demanding than Bob Dylan of 1966 [Blanchett's role in 'I'm Not There'] and Carol Aird of 1952. I challenge any director out there to come up with a wider divide. I had to convince her to take the Dylan role, and that took effort. But with 'Carol,' she was already attached.

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.