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I think people do like extremes in cinema. There are very few films told about everyday middle-class couples, which is odd to me, as there are a lot of everyday middle-class couples.

My films are very everyday, and people don't always want to go to the cinema to see ordinary lives. They want to see something a bit more extraordinary. I get that desire, but it's not the kind of film I want to make.

Lots of shows get cancelled, and then they never get to end their stories. It's just over.

You can achieve one thing, but because of that, you have to adapt or lose something else. If you end up in a relationship, you sometimes have to lose the closeness of your friendships, for example, or you have to move away somewhere... For me, that creates the sense of melancholy which I think exists in most people's lives.

When I started making films, it was never that I had this great ambition to only do gay-themed material.

I think it is a burden... that we constantly realise that there isn't that much rhyme or reason to why something happens. If we think about that too much, it can make all of our decisions very stressful.

I'm not very good at thinking, 'This is the thing I should do now to help my career.' I mean, I want to keep my career going, but that's not what draws me to a story.

I was not a happy teenager in the slightest.

I don't want a performance to give me everything. You can look at Charlotte Rampling in '45 Years,' and you don't really know what she's thinking, but you know something interesting is happening.

In stories, those are the moments that hit me the most: when people really don't expect it, don't have it much in their lives, and suddenly, an act of kindness. It's like, 'Oh, God! Heartbreaking!'

The longer you get in a relationship, the harder it becomes to confront problems.

I haven't got muscles, and I don't live in West Hollywood.

Whoever my films are about, they'll hopefully still have my sensibility, whatever that is.

I'm interested in how we understand ourselves in our relatioships and how we define ourselves.

Relationships are so important to all of us.

As a person, I am totally obsessed with the choices and decisions we make in our lives and how they dictate the course of our lives. Seemingly random choices that we make end up defining everything.

No relationships are perfect. When they develop, there are things that have happened before in your life that you maybe don't discuss. And there are always fault lines within every relationship. I believe it doesn't take too much pressure to be placed on those fault lines for them to start cracking apart.

Our past absolutely defines everything we do in the present. We can't help it. We're made by the events of our past, so there's no escaping it.

In the end, with all of my films, I want to understand the continuity between these films and understand what they're trying to do.

I do make films for personal reasons.

When you make a film, everyone wants to define it.

Homophobia obviously still exists, but it is a lot more subtle, and it is a lot more in the background.

I've certainly felt alone a lot of my life.

I didn't enjoy growing up. I was lonely. That's probably my base level to feel like that.

One of the reasons I wanted to make 'Lean on Pete' was that it wasn't about identity. For me, it's about something more essential underneath: the need to have somewhere to live, to be safe, and have someone to look after you.

I'm gay, and I know a lot of very liberal straight people, and, of course, they're absolutely fine, but they still won't necessarily come and see a film like 'Weekend.'

I always think that there's a weight of prejudice from the past that gay people perhaps carry around with them. Even if it doesn't exist so much around them, they still have a feeling of being excluded, and perceived prejudice is almost as unsettling as actual prejudice.

People like a bit of honesty in films.

I have seen a lot of gay-themed films that didn't really express how I see being gay at this moment in the world. There never seemed to be a kind of authentic depiction of relationships.

I wanted to make films since I was young. My background had nothing to do with anything creative, so it seemed an impossible task.

I always quite like the idea of casting against type when I'm looking for and trying to understand who a character is.

With supporting roles, you just want really good actors that can make it bigger than what's there.

There's something about film that offers this opportunity to stick to a very, very clear single protagonist's point of view, and I like that.

It's very important that all the supporting characters feel like they've existed in the world, that they've had a history, and they'll go on to have a history within the scope of the story rather than just popping up and then disappearing.

I love the fact that James Ivory made films about Britain, made 'Howards End' and 'The Remains of the Day,' or that Paul Thomas Anderson made 'Phantom Thread.' They're about Britishness, but they're from an American perspective. And I actually think they're fantastic in the way that they understand Britishness.

When I made 'Weekend,' the idea that 'Moonlight' would win the Oscar would be like, Whaaaaat? Like, that's not going to happen.

'Call Me by Your Name' is essentially the universal nature of love.

I think people have this idea that I just lived in my place in England and never left. During 'Looking,' I was in America for four years. I've got a green card. I spend half my time there. It doesn't feel like an alien world at all.

I only want to tell films that I really feel passionate about telling.

It fails everybody, pretty much, the American Dream, but people are driven by it. I don't think we're driven by the same sense of hope in Europe. We're driven by pessimism more.

People have very difficult lives. We can judge them for making the wrong decisions, but if you look harder and understand that these lives can be difficult, hopefully you're at least a bit more sympathetic to the decisions these people have to make.

We get older, and we get more wrinkles, but fundamentally, we stay the same... You have the same fears and doubts and concerns and dreams and passions and all those kinds of things, so I feel like you don't change as much as you think you do.

I think it's always interesting to me how we keep secrets from the ones we love the most. You could be so close to someone, but still there was something you can't express, you can't tell them, because it's almost too painful and too hard for you to articulate yourself, because you don't fully understand it.

Being gay, you're kind of forced to ask, I suppose, very existential questions from a very, very early age. Your identity becomes so important to you because you're trying to understand it, and, I think, from the age of, like, 9, you're being forced to ask questions... that other kids maybe don't have to ask.

I think the gay community is made up of so many little different things, different parts, different people... I think that can be quite hard for people. You think you've found your tribe, but actually, that isn't your tribe, and then you have to keep searching for what kind of makes sense.

People's lives often don't turn out as they expect.

In the early stages of being out, you meet all these people from all kinds of backgrounds, and the one thing you have in common is you're all gay, but then you start to realise how different your experiences actually are.

That's the biggest thing I struggle with. We could never hope to represent every gay person in America. There will be people who will say, 'Well, my experience of being gay isn't like that,' to which I can only say, 'That's fine.'

America is so diverse.

I've traveled a fair amount around the country and visited many states. It's amazing that Oregon is so different from Idaho; even though Portland isn't that far from Boise, it's a completely different city. Colorado is very different from Oregon. From a European perspective, I've always found that fascinating about America.

I feel like, throughout lots of my life, especially growing up, I felt powerless.

If you're struggling, it's easy to feel powerless until you take control of it and assert what you want. I can understand that feeling. I can understand how it feels to be alone, to not want to get help from people and to not trust people who are actually wanting the best for you. I feel like that's true for a lot of people, actually.

It's always important to try and get a real sense of the world around my characters. I especially think it helps actors.

If you don't open your eyes to other people's lives, you can't even begin to understand how the world works at all.

I would certainly not support Trump in any way shape or form, but I want to have sympathy.

You can't expect to connect with everybody, and that's all right. The more I make films, I'm learning that you don't have to make films for everybody. A film can be made for a smaller group of people than that, and it still warrants an existence.

I rode a horse once when I was young, and I fell off. I never wanted to ride a horse again.

Horses terrify me.

Coming from a different perspective on a society is really interesting. I love the Paul Thomas Anderson's 'Phantom Thread,' and that's a version of Britishness and Englishness made by an American.

We pass people in the street and ignore them when they're clearly suffering. It makes you wish we could all feel when someone needs something.

If I can do a scene in one shot, it's in one shot. Most of my shots are pretty long. I think with 'Looking,' what we have in the first minute is a whole episode of a traditional TV show. I like to let things breathe; I like to let things have a certain tone.

'Looking' was always a niche show for a niche within a niche. It's a gay-themed show, so you're not going to get millions of straight people watching it - that's the inevitability of it.

I went through a period of watching probably too many Bergman films in a row. I felt like I'd discovered the answer to what cinema should be.

My influences are all over the place. Different films have spoken to me at different times in my life, and they've helped create my idea of the kind of films I want to make.

When I was growing up, I was watching fairly standard American cinema.

Lynne Ramsay's 'Ratcatcher' blew me away when it came out. When I started making short films, I would watch that film over and over again, marvelling at how that story visually unfolded.

I don't believe in 'happy ever after' at all as a concept.

For me, it's very important that shows about gay people are messy and complicated and are truthful about what we do.

Class is really interesting to me, maybe because I'm from England where there is a pretty hideous, deep-rooted obsession with class. I don't like the obsession with class, but it certainly interests me.

If you don't have money or you come from a background that doesn't have money, it's harder to achieve your ambition in life. It's not that you can't, but it becomes harder. Inequality is one of the worst things that can exist in our society, so I am interested in those kind of things.

I like going to a new environment with open eyes.

The endings to me are the key moment in 'Weekend' and '45 Years.' I know how I want my gut to feel at the ending. Even if I can't articulate in words what that feeling is, I'm trying to find ways to get there.

We can all understand that feeling of being alone in the world trying to find ways to not be alone.

Certain people like the way I make films, and others do not. I've come to terms with the fact that there's no other way I can make films. If I tried to do it in a different way, it would never work.

The kinds of films I like are the ones that take their time. If you reach an emotional pinnacle too early on in a film, that's kind of it. I think, as in real life, when you're getting to know someone, it starts off slowly.

For a long time, gay men fought to be seen as different, doing our own thing: This is our lives; this is what we do. Accept it. There's a conservatism that has come into the gay community: 'We're just like you, just like everyone else.'

Of course everyone should have the right to get married. But I think people need to remember sometimes that we don't all need to be the same. There's thousands of different types of relationships that people can have, whether it's completely monogamous or it's not monogamous, or they're married, or they're single or whatever it is.

There have been some good British gay films.

It's always very important that you can completely disagree with someone, but it doesn't fundamentally mean that they are bad people.

Men are both bad and awful. And women are both bad and awful. And they can both be good and wonderful on both sides.

In my own life, my parents divorced when I was young. I lived with my dad, not with my mum, after they got divorced. And it's been part of my life.

If I see someone break down in tears, I don't necessarily feel empathy for them in those moments unless it's really warranted. I feel like a tear needs to be warranted in a movie; it needs to be earned.

I'm really bad at knowing if something I've done is any good. I can't work it out; I can't be objective about anything I do.

You work really hard on something, and you know you can't always make great work. It just doesn't happen like that, I don't think, at least not for most people, anyways.

I think there's always a conflict within me about being comfortable and secure and then being an individual and fighting for what I want to be on an individual basis.

We have a choice every day to do whatever we do, and that choice is quite scary because it could absolutely change everything about our lives. It's important to keep reminding myself that I have a choice.

Personally, I don't like to talk too much to the actors about the camera choices because I feel like the way I want them to perform is as if it feels very rooted in the real world and that I'm essentially stepping back and just watching and hoping they feel safe with me watching.

I think all of my male characters, I suppose, in all of my films, they're not necessarily the traditional version of masculinity.

The reality of our lives is never like what you see in those romantic comedies or dramas. Things don't always end good. Things don't usually end good.

I'm happy to do gay material, and I'm gay, and I'm not embarrassed about it, but it's nice not being limited to only doing gay material.

I think the films that work the best are the ones that seem to be about one thing but then, under the surface, bubbling away, are lots more important questions that you're not really aware of, and when you leave the cinema, your mind is ablaze with different thoughts!

SXSW can feel very male, very straight, and very white, and though it's a great festival, when you have a film that's different, it's hard to find your place.

A lot of gay-themed films are terrible. And mainstream audiences and the press aren't interested, understandably.

People don't think the struggles gay people have are worth talking about because everyone's decided that we're all equals now. Those struggles are much more subtle now. But the weight of being different does carry on.

My straight friends accept I'm gay but they forget that some people don't. Even now, if I go into a party, people don't usually assume I'm gay, so you have to keep coming out. And if you say you've got a film with a gay subject matter, you can sometimes see people's eyes going, 'Oh! OK!'

I've always felt like an outsider, whether in school or when I'm working or within the industry or just in society at large.

I am fascinated by that person who is trying to live authentically, but they are on the outside of society, so how do they manage in the world around them?

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