Women often postpone their lives thinking that if they're not with a partner then it doesn't really count. They're still searching for their prince in a way. And as much as we don't discuss that because it's too embarrassing and too sad I think it really does exist.
I had a daughter who was 9 years old and I had the feeling I wasn't going to be a real parent if I didn't quit making movies for a while and spend time with her. I also felt that I'd made enough movies and said what I had to say at the time.
My musical knowledge is so bad it's embarrassing. When composers discuss music with someone as primitive as myself they have to talk about it in terms of senses and emotion rather than keys and tempo.
I feel that directors at times are like the janitors on the set. I am the secretary I am the organizer I am the maid and I ask if they have eaten or rested. The best things are always out of your control. It's those moments that surpass the imagination that are thrilling.
There's no artist in this world that doesn't enjoy the dream that if they have bad reviews now the story of Keats can redeem them in their fantasy or imagination in the future. I think Keats' poem 'Endymion' is a really difficult poem and I'm not surprised that a lot of people pulled it apart in a way.
I didn't like England. I couldn't take the look of the place or the style of friendship. I need more intimacy from people than is considered okay there and I felt that my personality and my enthusiasms weren't understood. I had to put a big lid on myself.
But short films are not inferior just different. I think the short gives a freedom to film-makers. What's appealing is that you don't have as much responsibility for storytelling and plot. They can be more like a portrait or a poem.
With 'Bright Star' and with 'The Piano ' too I felt a kind of sadness about it being in such a different era because of my lack of experience with the era. And one of the ways I'd get over it is to remind myself that every film even if it's contemporary creates its own world.
I think women don't grow up with the harsh world of criticism that men grow up with we are more sensitively treated and when you first experience the world of film-making you have to develop a very tough skin.
I think that the romantic impulse is in all of us and that sometimes we live it for a short time but it's not part of a sensible way of living. It's a heroic path and it generally ends dangerously. I treasure it in the sense that I believe it's a path of great courage. It can also be the path of the foolhardy and the compulsive.
I did this Super-8 film at art school called 'Tissues ' this black comedy about a family whose father has been arrested for child molestation. I was absolutely thrilled by every inch of it and would throw my projector in the back of my car and show it to anybody who would watch it.
There was a big drive when I was at art school to make you aware of the economy of meaning - after all this was still during the tail end of minimalism. Being responsible for everything you put in your picture and being able to defend it. Keeping everything clear around you so you know what is operating. To open the wound and keep it clean.