The world needs more women filmmakers, so we have to keep encouraging ourselves and one another, and eventually things must get easier for us.

I love great locations in movies, and I couldn't believe I'd never seen a landfill on screen before. It was the most haunting place.

I remember when the Berlin Wall fell and suddenly intractable problems get solved.

I don't believe in objectivity. I observe the observer's paradox every moment I'm filming. Your presence is changing everything; there's no mistaking it. And you have a responsibility.

I love making fiction films as well as nonfiction ones, and hope to keep challenging myself to make better and better work.

My main trick is to work with amazing people. It's a long and twisty journey and you need people that really are amazing and have this rare gift of honesty and courage and really open up.

There's a theory of accidents that I studied when I was making a film about nuclear weapons: you can never eliminate accidents, because the measures you introduce to prevent accidents actually produce more accidents. That's certainly true of this sport; you're flying over 40 feet of what might look like snow, but it's hard as ice, it's as hard as pavement. You're doing acrobatic spins and tricks, 40 feet above pavement, essentially. There's been more accidents since, and there are going to continue to be more accidents, that's the nature of the sport.