I feel like it's a subversive thing [a certain body type to admire] which keeps women preoccupied with something that doesn't matter, and takes up a lot of space, and prevents people from what they're meant to be doing.

You need to not be able to do anything else, to be in this business. If you have other options, in those unemployed moments, those other options will take precedent. From a directorial standpoint, I think it's really Freudian, the amount of trust I have in filmmakers because I have such a trusting relationship with my dad.

On the spectrum of imagination, there are people who are more imaginative than others - I guess some kids are hardcore pretenders and have imaginary friends for years and other kids play and they have fun, but it's not quite as specific like that.

When folks get to the best of their profession, people are like, "Who am I to give a critique to this individual who's reached mastery?".

I saw an episode - the second episode [of Black Mirror], "Fifteen Million Merits" - and I completely flipped out: "This is what my nightmares are made of. This is the most terrifying thing I've ever seen."

I come from a little bit of a theatrical background. I started that way. I don't have a tremendous body of work or anything, but I went to drama school. And so, to get to do a piece where the characters get to talk a lot, and that isn't just about the spectacle or the set piece, or is simply visual or movement based. It was really wonderful for me, and juicy and exciting.

Right now as an artist, what I want to do is be a part of works that are unignorable. I couldn't be less interested in how people receive it, honestly. As long as it's unignorable.