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.

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.

You can't really divorce women's struggles in the world from women's in the cinema. As long as there's hierarchy it means that women are somehow secondary or second class or less than. That's going to be reflected in movies because films are the most powerful medium to reflect back society's view of itself

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