MUSIC Hello, I'm Tilda and I want to say Happy Birthday, Teddy. You're 30 and you will be much, much older and you don't look a day over too. Thank you very much for doing this interview with us. Yes, very welcome. Miss Winton, you often choose for movies that deal with gay, lesbian and trans topics and for example with a transgression between genders like in Celi Portis or Lando. Why do you support the depiction of queer live and queer characters in movies? Well, the whole question of identity is the reason I suppose that I'm interested in being a performer in the first place. I've always been very intrigued by the way society encourages people to decide what they are and stick with it through second thing forever, whether it means they're going to decide to be bourgeois and that means the following list of characteristics or whether they're going to decide to be, you know, they're a male and they can never display any feminine characteristics or whatever. There are an alcoholic and they can never be in recovery and they can never love themselves. So that whole question generally is of interest to me and the world of queer culture is incredibly familiar to me. It's been my first home when I entered the world of art, not only with Derek Jarman obviously when I first started making films but even before that gay artists were probably the first artists that felt like home to me. And I don't know why that should be but the feeling of alienation and then homecoming always felt to me very present in gay culture. You already mentioned Derek Jarman. Well, you won the Teddy Ward twice. The first time in 1988 and then exactly 20 years later in 2008 together with Keith Collins, Simon Fischer Turner, Isaac Julian and James McKayne for keeping alive the heritage of Derek Jarman. And with Derek Jarman you also made your debut in Caravaggio in film in 1986. So how would you describe the relationship with Derek Jarman and what does it mean to you to keep his heritage alive? Well, Derek was my beginning in filmmaking and I also in the Belinala, I'm at the same age as the Teddy Ward because the first time I came to Berlin was with Caravaggio which was the first film I ever made with Derek 30 years ago. So we have the same age, Teddy and I. And yeah, he was the person who showed me through his work and also by introducing me to international cinema through the Belinala specifically, the wide world of cinema. And he was my kindergarten and I really grew as an artist with him. And he was for all of us, all of the people that you mentioned James and Simon and Keith. And we all learned how to become artists with Derek. He was our school. Well, Miss Winton, you won an Oscar. You are starring in big Hollywood productions as well as in highly acclaimed independent productions. Really, by the kitchen. But with that in mind, I was wondering, did winning the Teddy Ward actually have a significance for you? Huge significance. I mean, prizes are prizes. And it's sort of maybe tricky to say, but some prizes are worth more than others. And there's something about the Teddy that's really very tender because as I understand it, the Teddy is about a constituency, about a sensibility and about an audience that feels heard and feels represented and feels a sense of camera chip. And so to get a Teddy Award is a real embrace. And so I'm very proud of my Teddy's.