Personally, I don't like watching films about victims - people where you're meant to think, 'Oh, this is terrible,' and you go home feeling really depressed.

Personally, I don't like watching films about victims - people where you're meant to think, 'Oh, this is terrible,' and you go home feeling really depressed.

I'm not generalizing anymore about men and women, because I think these old terms of "masculine" and "feminine" are going very fast with the rise of transgender rights that are questioning what all these categories are.

I want every scene to feel electric and I try to finish the filming period with a clear trajectory: a beginning, a middle, and hopefully an end.I hate "fly on the wall." It infers that I don't relate to the people we're with and that I don't get affected by events. I like it when people talk to me. I never say things like "Don't look at the camera" - how bossy!

People want black and white answers, but it's not one thing or another. I think the only way we're going to make good things is to inspire people and make them feel as though what they're watching is real.

There's no point in making something if you're not falling in love with the people you're filming and you want them to really enjoy you being around. It would be weird if, when you're making a film, you don't think it's going to be the best ever or the worst ever - I guess it goes from one feeling to another.

I don't want the people I'm with on this journey to feel like I'm filming them all the time. I don't want them to constantly feel as though they're being watched. So I will have the camera ready at all times, but I will only film when something is really worth filming. Those are the moments when the person being filmed is usually not aware of it.