I knew it wasn't fair, I knew it was wrong, but I couldn't help it. And after a while, the anger I felt just sort of became part of me, like it was the only way I knew how to handle the grief. I didn't like who I'd become, but I was stuck in this horrible cycle of questions and blame.

There are always differences when you adapt a novel to a film. A novel is longer so you're automatically cutting out elements and introspection but this is actually a film that stays very close to the novel.

You should be kissed everyday, every hour, every minute.

None of my characters are rich or famous, and the situations they find themselves in could happen to anyone.

Who did she know in Raleigh who took the time off to fix a house? Or read Whitman or Eliot, finding images in the mind, thoughts of the spirit? Or hunted dawn from the bow of a canoe? These weren't the things that drove society, but she felt they shouldn't be treated as unimportant. They made living worthwhile.

You need someone who has a really good way of enabling trust in the cast and crew, or the cast particularly, to allow them the confidence to stretch themselves to get the performance that you're going to need to provide all of the emotional up and downs in the film.

If you simply ignored the feeling, you would never know what might happen, and in many ways that was worse than finding out in the first place. Because if you were wrong, you could go forward in your life without ever looking back over your shoulder and wondering what might have been.