In the end, whether I write the script or, in this case, somebody else did, there's a point where you let it go when you're making a movie. You just have to. The thing that you shoot is not what you imagined in your head - it never is exactly that. And it shouldn't be.

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.

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.

I always bring it up to my lawyer every now and then. And another reason we have to revisit it is because there is a restoration going on right now for the film through UCLA and Sundance.

I sort of have a dog-minded single strategy but I am a little more open to stuff that's out there, now and looking at scripts in the world and seeing if something that already exists can spark my interest and my curiosity.

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.

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