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.

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.

You give your film away to the audience once it's done. I never look at my films after the premier. The film needs to start its own history.

I don't think the concept of "directing actors" exists in the sense that if you get what you order from an actor you'll always get bad acting. Every actor is scared just like a regular person.

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 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.