I just really have an affinity for women. Watching them go through journeys is more interesting to me than watching men.

I tend to believe, when you're in a relationship, if you don't fight, it's not a real relationship. You have to have arguments and tensions, otherwise I don't believe it.

I've always shot on film, but the times are changing.

. . . I felt that making her one-dimensional would be an insult to the audience, and also not as interesting. All destructive people have an inner side to them, and the more three-dimentional your characters are on screen the more compassion you can open up in an audience . . .. To me, that involves the audience more, it stimulates them and asks more of them.

What I do usually is read the book first, for pleasure, to see if my brain starts connecting with it, as a movie. And then, if I say yes, I read it again, only this time I take a pen and, inside the book, I say, "Okay, this is a scene. I don't need this. I'm going to try this. I'm not going to take this." And then, I use that book like a bible and each chapter heading, I write a menu of what's in that chapter, in case I ever need to reference it. And then, I start to outline and write it. I get in there and it starts to evolve, based on having re-read it again.

You can take the high moral ground intellectually, but if it ever happens to you personally, I don't know that I could honestly say that I wouldn't want to kill someone who took someone away from me. So, it's a rich, fertile ground for great characters and great storytelling. That was the impetus.

Women have to take more control of their careers. They can't just wait to be cast in a film.