I think that there is an air of experience and aesthetic sophistication that weaves in with the amateur aspects of the film [Dream of Life]; it gives the film a certain elegance.

Why can't I write something that would awake the dead? That pursuit is what burns most deeply.

Those were the things on my mind [stay healthy, take care of my kids and reestablish a relationship with the people], not career, money, drugs, sex, alcohol or fun. Not that there's anything wrong with any of those things, but they aren't in the film [Dream of Life], because that wasn't my life at the time.

A writer, or any artist, can’t expect to be embraced by the people [but] you just keep doing your work - because you have to, because it’s your calling.

I believe myself to be an artist. That was my calling, to do my work, and what's most important to me is to do the best work I possibly can. And that is what means the most, that is what will endure.

In the '50s you had to wear pink ribbons if you were a girl, and you were supposed to become a hairdresser or a secretary. I couldn't stomach it. Later on, when I fell in love with my husband and had children, that's when my mother's earthiness or sense of femaleness kicked in.

I watch a lot of crime shows. The head investigator always said to the crime solver, "What do you say?" And inevitably the other has to say something like, "Well I'm thinking he was shot in the neck with a certain gun and he seemed to be running." The solver has to picture what he's seeing first, and then express his own observations. The writer does the same.