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.

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

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

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.