As my films are born at the moment when they are reflected into another person's mind and memories, there are no misconceptions. I totally accept that different people have seen a different film.

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.

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 had worked in fiction a lot before I started making documentaries, but when I was around 32 or 33-years-old I suddenly got so fed up with the world of fiction, which is so money-centered.

At 13 I was someone that didn't have a personality yet. It's a fascinating period in a human life. It's so exciting because you are in between childhood and adulthood.

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.