It's not a choice. Either I write or I don't, especially when I'm in a foreign culture. I've lived in London for years, and I must continue my writing and filmmaking. The most important thing for an artist or an author is to continue her work. Languages and settings are the tools but not the first thing.

Self-censorship happens not only in China, or Iran or ex-Soviet places. It can happen anywhere. If an artist penetrates a certain taboo or a certain power through their work, he or she will face this problem. I'm always saying that commercial censorship is our foremost censorship globally today. Why do we still pretend we are free?

Never look back to the past, never regret, even if there is emptiness ahead.' But I couldn't help it. Sometimes I would rather look back if it meant that I could feel something in my heart, even something sad. Sadness was better than emptiness.

Its important to be comfortable with uncertainty.

It's the heart afraid of breaking that never learns to dance.

I think our literary tradition has to evolve, has to explore its form and its spirit through writers and thinkers, rather than let the lazy, easy traditional narrative - which is controlled by the publishing industry - roll all over the readers and dominate the market. I think our readers and cinemagoers have been trained to read and watch very mainstream stuff. It's like being given sleeping pills. It sends people to a non-reflective sleep state.

I thought English is a strange language. Now I think French is even more strange. In France, their fish is poisson, their bread is pain, and their pancake is crepe. Pain and poison and crap. That's what they have every day.