I think when you're trying to get a film together that's had a long gustation process before I came on board and was trying to get financed in various stages, sometimes you're trying to make it more friendly to the financial interests or the commercial interests of various parties.

As an independent filmmaker, to develop the money and the financing and the structure and the whole process, and then promoting them and traveling with them, which is a part of the process that I've always enjoyed and I've learned a great deal from.

I think that's what I love about glam-rock. It invited you to participate. It asked you to change yourself in all these different ways, or offered up all these options.

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.

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.

I found that with Rooney, her instincts in films was always to underplay and to sort of reduce down what was necessary to bring you in - a sense of economy, a sense of scale, which just seemed to understand the medium so well. When you see that in a younger actor, I always think it speaks to incredible knowledge. I can't exactly figure out where that comes from, that confidence to know how to be quiet.