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

Because there is that sort of feeling that people don't know what to do with gaps in their lives. It's a scary notion, but actually, if you can stand in space just for a little while, a new door will open, or you'll be able to see in the dark after a while. You'll adjust.

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.

You know, sex is actually not so original as the way people love or the stories behind each relationship, which is what you remember. Sex is sex in the end.

The Piano Lesson' is very sophisticated, easily the most adult or complex material I've attempted. It's the first film I've written that has a proper story, and it was a big struggle for me to write. It meant I had to admit the power of narrative.

I think that the romantic impulse is in all of us and that sometimes we live it for a short time, but it's not part of a sensible way of living. It's a heroic path and it generally ends dangerously. I treasure it in the sense that I believe it's a path of great courage. It can also be the path of the foolhardy and the compulsive.

I think feature film can be quite conservative, because you have to now get audiences to come out, and it's quite a hard thing to do. Of course, television can be conservative too.