I am not interested in making didactic polemical statements. That is not the way I want to make films. There is a place for polemics, but I don't think that it is in fictional cinema. Fictional cinema works subtly and deeply.

The female struggle implies the black struggle, it implies the struggle with anti-Semitism, it implies all of the other struggles. That is the only possible way to think about human liberation.

I am not interested in making didactic polemical statements. That is not the way I want to make films. There is a place for polemics, but I don't think that it is in fictional cinema. Fictional cinema works subtly and deeply.

To me there is an intimate relationship between austerity and more lush aesthetics. They're two faces of the same coin.

A narrative thread gives people permission to think about other things whilst being carried by its flow. It does not mean that one has to compromise one's vision, or question formal concerns. It's just being more subtle and clever by having one accessible thread.

My writing method is to sit in a very small hut absolutely alone. I write in total solitude. And I write on paper, on hand, and then it gets typed. Normal for me.

Between the postwar fifties - domesticity, people happy to be alive after the Second World War, wanting to build a home, make a family, make a nest. Women were pushed back into the home after having been active in the Second World War. It was a big Doris Day moment for women, which didn't suit all women.