I think it's hard for everyone to find their way as an adult and to match up their expectations from their youth to what their adult life looks like.

The camera is your way to see what you want to see - it's an extension of the director's fantasy. I'm executing my personal fantasy, whether it's a fantasy of pleasure or of pain and fear.

A male director doesn't come to situations the same way that a female director would.

I'm a civilized person who obeys the law and is pretty easy to get along with, but I'm more complicated than that. I use my work as a way to get all that other stuff out and experiment with feelings and ideas, and the forbidden. That's just part of my process, I think, to identify something forbidden. That's what lures me into wanting to do the work, write the story down.

Something you discover as a writer is that actresses who are successful are incredibly smart. For some reason, there's this myth that if you're a beautiful actress, you're not bright, you're a puppet. But it's completely the opposite. These are people with a finely tuned sense of story, and who are also strong and articulate. You have to be, to be a woman holding your own on TV and film sets.

I'm never trying to make a statement about morality ever. If there's a statement to be made, it's "People are complicated. They do things that may hurt other people, or exploit other people, but they may do them for the right reasons, or out of desperation." I don't judge that sort of "bad" behavior. I'm only interested in a world where people break outside of the norm, and I believe people do whatever they have to do to relieve themselves of pain. I just want to watch and see how that plays out.

When you are trying to get a shot, you can't be pleasing everybody. And I tend to be sort of collaborative and a bit of a pleaser. And when I'm directing, people just sort of call me Black Hat Gabriela. Because suddenly they're like, "What happened to you?" Because I stop listening. And I feel strident. I feel rude. And I feel un-collaborative.