As the director, you have to hold in your head the widest possible vision. Not just the idea and the story, but the conceptual content. But at the same time, you have to consider the tiniest, tiniest detail.

I think yes is the most beautiful and necessary word in the English language.

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.

The language of cinema as it has evolved has also excluded vast swathes of human experience. The forms we find in the process of making a film can start to redress this balance and venture into uncharted territory. This is not just about unsung identities but about the subtleties and nuances of contemplation, the drifting spaces in which the worlds of the very small and the very large collide. Camerawork is a part of that.

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.

I think that the word feminism doesn't imply enough in terms of solidarity with other liberation struggles. I am firmly committed to the notion that no one group can be freed until all groups are freed.

I've always traveled with the films because I want the audience to be my teacher so that I can learn for the next one.