If you take a big epic novel and you shoot it, when you get to the editing room you notice that it has 2 million climaxes, which fill the whole 90 or 100 minutes. Then you realize you can't cut them out because if somebody is dying and you cut that out it seems like they just disappear from the film.

When I make a documentary I shoot very little but I hang around with my camera for a long time. I look at the people for a long time through the loop and then when I see something interested then I shoot. I think that I have become very sensitive to these things.

I went to England when I was 13-years=old and then I went again when I was 14. When I went for the second time I felt like the first summer I was there it was a waste because I didn't exist yet.

Every documentary is subjective. It's a total lie to say there are objective documentaries.

In all my documentaries I did all the camera work, but in fiction I didn't want to do it myself. I think the machinery is so heavy and demanding that you would leave the actors alone for a long time.

We exaggerate the difference between documentary and fiction. I think that on some level a fiction film is also a documentary on the actors. You can't wash away your life's history, which is written on your face, unless you get a facelift.

Being a female director become as professional as your male colleagues and forget the whole question about being female. You are female anyway and it is going to work in your favor. The scope of female professional superiority can be understood by so few men that mostly they do not miss it.