Nobody is so weird others can't identify with them.

I've always been fascinated by the way that children and animals suffer stoically in a way that I don't think adults do.

In a way, a lot of my work is in the re-writing once it is cast, as I adapt to the rhythms of how the roles are played out by the actors.

I saw Dolce Vita and my mind was blown by it, by the synthesis. I realised I wanted to be a filmmaker and started making films. I was writing screenplays and couldn't get money because my work was so uncommercial.

The script is the musical score, and everyone has to play off that score. Even I have to interpret it. The producers are there to eliminate obstacles to that interpretation.

We all have to embrace the idea not to be worried about there being other women in the room. Gay men work with such solidarity.

I think it's very important to keep being frightened - if you're not frightening yourself, you should take a break. You need to keep experimenting. You also need to take time - that's how you do good stuff - layering and depth of knowledge.