What we really need to look at is gender fluidity and the idea that gender can be customised however you want.

I feel like so much of mainstream feminism springs from the second wave, which was essentially a discourse spearheaded by white, cisgender, upper middle class women. I feel - especially as I'm trying to negotiate this new female space with the feminism that's available to me - there are a lot of places where I'm disenfranchised.

Sexuality is who you want to be with. Gender identity is who you want to be in the world.

If you don't know somebody, whether you're inquiring into their sex or their gender, it's invasive.

The film's success so far involves winning a couple of prizes at Cannes and Sundance, and getting some very nice reviews in newspapers and magazines. That hasn't had a big impact on my life yet.

I didn't even have a clear idea of why I wanted to go to Oxford - apart from the fact I had fallen in love with the architecture. It certainly wasn't out of some great sense of academic or intellectual achievement. In many ways, my education only began after I'd left university.

If there is any secret to my success, I think it's that my characters are very real to me. I feel everything they feel, and therefore I think my readers care about them.

The man who has really won the love of one good woman in this world, I do not care if he dies in the ditch a beggar - his life has been a success.