With a screenwriter and with the actors there is always an environment of trust. You can say anything, all your secrets, and you know that it won't get out of that room.

If you are not a New Yorker, when you arrive there for the first time you have the impression you grew up there because you've seen it in so many films. It's been filmed from every single angle and by so many different filmmakers that you know the streets, the sidewalks, the architecture, the cabs, the temper of the people.

Men, not only in Turkish society but everywhere, have been the bosses in terms of creation. If you look at art history, women were the objects. The fact that it's not been made by women means that the subjects are not women.

I didn't want to do casting in a way that you find yourself in a situation where there's this perfect girl for a part and you just can't cast her because the family says no.

When you make a film, you come to say something.

There was something, which was the turning point: I felt very strongly that women were sexualized, and perceived like they are sexual in every move, and it started off really early.

There's something about all the people who are on a mission for purity and chastity, which I find very questionable.