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I've obviously always been aware of actor-oriented films, being an actor. Altman and Cassavetes were really strong. And then I realized their structures were quite fascinating, too.
If you go for the money first and try to think of what other people want to see, you change your original inspiration and perhaps put out something that's less original and less personal and maybe less satisfying.
Some people go off to an ashram or they, you know, have a midlife crisis and buy a sports car. For me, I do 'Hedwig,' and I see it's a midlife crisis maybe, and I see what's next. And it's a good trampoline, maybe, into the next part of my life.
I like the fact that it's like The Ramones. You just have to change your name, and you're a Ramone. You just have to put the wig on, and you're Hedwig. Women have played it. Gay men, straight men, you know.
You get all these French directors who have all these pretty, vacuous stars of their movies - from Jean Seberg on - who have become iconic but were never really good actors.