I didn't like England. I couldn't take the look of the place or the style of friendship. I need more intimacy from people than is considered okay there, and I felt that my personality and my enthusiasms weren't understood. I had to put a big lid on myself.

I think women don't grow up with the harsh world of criticism that men grow up with, we are more sensitively treated, and when you first experience the world of film-making you have to develop a very tough skin.

I don't belong to any clubs, and I dislike club mentality of any kind, even feminism - although I do relate to the purpose and point of feminism. More in the work of older feminists, really, like Germaine Greer.

As for how criticism of Keats' poetry relates to criticism of my own work, I'll leave that for others to decide.

If you read Keats's poems, they're often full of doubts and anxieties. They can be quite tough.

There was a big drive when I was at art school to make you aware of the economy of meaning - after all, this was still during the tail end of minimalism. Being responsible for everything you put in your picture, and being able to defend it. Keeping everything clear around you so you know what is operating. To open the wound and keep it clean.

To deny women directors, as I suspect is happening in the States, is to deny the feminine vision.