I love the discipline of shooting film, because you don't cover everything, and I'm glad that I learned that way.
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I hate exposition and superfluous dialogue. I hate when dialogue is trying to explain or patronize or finger-point.
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My mum says I was the best kid ever; you could put me in a corner with a box of paints and I'd be happy for hours. They'd say, 'Lynne, Lynne,' and I wouldn't hear them.
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Where you're running out of time, you have these brainwave moments. It's allowing the space to have them, even in an incredibly tight situation.
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We Need To Talk About Kevin,' as an adaptation, was pretty major. It's a long book, and it's in letters, so it was a real editing experience to boil that down and make it cinematic. I learned a lot doing that film.
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Sometimes what you don't show creates more of a mystery.
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To me violence, once you've done one violent act it leads to another, it leads to another, it leads to another, it becomes routine.
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I think you can say so much about a character in lots of subtle ways.
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Well, the film industry is completely sexist and completely class-biased. It's not something I get on the ground level, it's more from financiers and producers and distributors. It's a way of dealing with you that is essentially patronising: I know better than you.
