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.

I like to get something that is impossible to verbally order. Sometimes it's something the person is not even conscious of, and it's something you could never ask of them specifically. It's just there.

It's said that if two documentary filmmakers meet they talk about the world, if two fiction filmmakers meet they talk about the million that they don't have to make their 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.

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.

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 auditioned actors I never make them act. I choose a long symphony, then I tell them to sit down and I play the symphony for them. Then I sit and I look at them. I always pick a piece of music that has up and downs, very dramatic parts, very quiet parts and really sensitive parts so that it can produce different emotions.