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.

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.

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

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.

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.

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.

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.