It's like our go-to notion of innocent and secure mythology of American life. I was always amazed when people would come up to me and say that 'Far from Heaven' was exactly what it was like back then. [laughs] I was so disinterested in what it was 'really like' in the 1950s when I was putting the film together, I was only interested in what it was like in movies.

I figured I would be teaching my whole life and making experimental films on the side.

It's like our go-to notion of innocent and secure mythology of American life. I was always amazed when people would come up to me and say that 'Far from Heaven' was exactly what it was like back then. [laughs] I was so disinterested in what it was 'really like' in the 1950s when I was putting the film together, I was only interested in what it was like in movies.

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.

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.

What was so interesting about the glam era was that it was about bisexuality and breaking down the boundaries between gays and straights, breaking down the boundaries between masculinity and femininity with this androgyny thing.

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.