I'm a much better filmmaker than painter. But studying it did make me visually acute and taught me lessons like being economic: Say something once and you don't have to say it again.

There is a different kind of vulnerability when a woman is directing

I think that three-act fundamentalism in film culture is a problem sometimes, because it's almost too obvious, or it's too expected. And it's not the only way to fill two hours, or to phrase things, or to order thoughts, or order ideas.

That's just how I see things on a base level: there's so much going on. Or at least I like to have that feeling. It's part of being interested in notions of reality apart from storytelling. I don't know if it has something to do with having an art school education, which makes you aware of the way visuals speak, or makes you trust them more.

There are some things that are real, that you can see, that you can observe, like the moon, and grass and things. But for ideas to become real, they have to be played on your senses.

The Piano ended up on television. Everything ends up there anyway.

What I have learned from my work up to now, is to try to be open, but also protect myself by not letting the good and the evil get too much importance.