If I don't have to think about the commercial aspect of it, then I feel like I'm going to make better films.

I hope to keep working with television. I wouldn't mind doing more.

I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that; they're actors, not writers.

I'd love for there to be a situation - a world in which that's just not even a question anymore. We are all filmmakers - different stripes, genders, sexual orientations, colors - and our work can be taken on its own terms. I'm really looking forward to that day.

Flaws make us all human, and you're rooting for characters because of those flaws. It's ageless if you're interested in relationships and the way people can or can't relate to each other.

For me, I want to see diversity in storytelling sources because we live in a very diverse society, and the stories are for the whole society. That's really important. For me, as a female filmmaker, when I was out on the festival circuit on 2006, I felt like such a freaking anomaly - an oddity.

Before adolescence I had an incredible voice. Like when I was 12, 13, 14 - I was taking acting classes, I was painting, I was making music, I was taking photographs. I was kind of exploding creatively, and then something about adolescence really just ground that out of me.