I feel a kinship to the idea of beloved stories and beloved pieces of art that we can imagine in different ways and sort of take a meta approach in terms of what those stories offer us.
The people in the decision-making positions need to be thinking differently about who to hire, and looking more unsparingly at their choices. Why give this person a break over that person? Why give this person a second chance over that person? I do think that's where gender comes into play.
One of the things you hear about when studying the nature of fanaticism is that a lot of the time, people don't start as fanatics. They shift and evolve into that state. That's a process, a systematic process of losing your identity and sense of self.
I would love to make lighter entertainments that have you sort of hopping and skipping and jumping out of the theater, but part of me just doesn't know how much I believe in that, as much as I want to.
For better and for worse, I feel like sorrow and grief are really transformative personal experiences for me, and I question what I would be had I decided to take a different path and not embrace that kind of pain.
It's very difficult to figure out, for me, what stops really talented young female filmmakers from having the kind of careers that their really talented young male counterparts are having.
I'm ultimately drawn to film many kinds of stories if they are sort of about unlocking the secrets of our human potential.
I'm a director first and foremost, and I hope that the fact that I'm female is just one of the many things that informs my unique perspective on the world.
What kind of world is it if we allow people who are violent and do terrible things off the hook? What does that say about the world we're living in - it's like a world upside down, right?
I'm strong-willed, but that doesn't mean I can't work with people if we're all in the mission of trying to make a good movie.
If you look at most mainstream filmmaking, to be honest, some of these films aren't even asking questions anymore at all.
The best horror walks a line that's completely on a psychological level, not needing the typical tropes of traditional horror filmmaking, then also having to tease out those elements in a way that makes the audience feel like they know what they're in.
I'm strong-willed, but that doesn't mean I can't work with people if we're all in the mission of trying to make a good movie.
I have had to really grapple with the fact that, while I wish things could be different at times, I ultimately needed to experience the transformation that comes with pain and loss and sorrow.
There are times when I'm kind of anti-social, I'm just really shy, and I don't feel like I fit in, and I then attribute that to some emotional state that's crippling me.
I feel like, generally, the golden eras of cinema seem to be in moments of incredible political turmoil and strife and struggle.
Always keep absorbing art and looking at paintings and reading books and watching movies in other languages, just getting to know the world at hand and the world of the past. It's important to keep absorbing the world and keep engaging with it, and often that means not thinking about movies and thinking about other things.