Suspense films are often based on communication problems, and that affects all of the plot points. It almost gives it kind of a fable feeling.

I find the stuff that is exciting to me are the films coming out of Taiwan and Iran and France. So I have the feeling I'm not making the films that American distributors want to make.

All of my films have been autobiographical - it's all I've got to go on.

Everything encourages you not to tell stories of gay lives. There is no economy yet for that kind of cinema.

I always think of my films within the context of where aesthetics meet economics. That's the nature of making art - not being naive about what is possible and getting what you need to tell the story you want to tell.

Capturing intimacy is pretty much the only thing I'm interested in. That's what excites me and what I find beautiful in movies personally - that almost obscene sense that we shouldn't be this close to these people. I find that very inviting and meaningful as an audience member.