I was 100 percent sure when I left university that I was going to be a painter.

That's one thing I find about having children - it does unlock a door that separates you from other women who've had children.

At best, I think of a director as a magnet. You get all the metal fillings in all the individual actors and crew, and get those filings moving toward your magnetic direction.

I was trained to look at colour, edges, to see negative space. I honestly think my greatest influence as a writer is from Cubism - the idea of a multi-faceted, multi-perspective way of looking at things.

I'm fascinated by what makes up a self, how one becomes a self, how much is it an answer to others and how much is it an essence of self.

You work with each individual actor as you perceive their needs to be. It's something that you've figured out in the weeks of pre-production.

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.