I've had a lot of different responses to my films. I got a lot of support from 'The Piano,' the obvious one, but it feels like an ocean, with a lot going on - the goal is to keep alive.

When you first fall in love it's so thrilling, you can't wait to throw yourself away and make this new wonderful twosome.

I feel that directors at times are like the janitors on the set. I am the secretary, I am the organizer, I am the maid, and I ask if they have eaten or rested. The best things are always out of your control. It's those moments that surpass the imagination that are thrilling.

I can't imagine people telling me what to do - I just can't imagine it.

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.

With 'Bright Star' and with 'The Piano,' too, I felt a kind of sadness about it being in such a different era, because of my lack of experience with the era. And one of the ways I'd get over it is to remind myself that every film, even if it's contemporary, creates its own world.

I'm someone who loves to play. I make films so I can have fun with the characters.