If there's specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can't change my gender, and I refuse to stop making movies.
I don't want to be made pacified or made comfortable. I like stuff that gets your adrenaline going.
What's most galvanizing for me is the opportunity to be topical and relevant and entertaining. That's the holy grail.
Something becomes personal when it deviates from the norm.
One should make morals judgements for oneself.
My dad used to draw these great cartoon figures. His dream was being a cartoonist, but he never achieved it, and it kind of broke my heart. I think part of my interest in art had to do with his yearning for something he could never have.
I don't know if I thrive in normal life.
On the other hand, I believe there's hope, because the breakdown and the repair are happening simultaneously.
I'm drawn to filmmaking that can transport me. Film can immerse you, put you there.
There's really no difference between what I do and what a male filmmaker might do. I mean we all try to make our days, we all try to give the best performances we can, we try to make our budget, we try to make the best movie we possibly can.
I think violence in a cinematic context can be, if handled in a certain way, very seductive.
Whereas painting is a more rarefied art form, with a limited audience, I recognized film as this extraordinary social tool that could reach tremendous numbers of people.
Right now, there's the illusion of order and civilization, but there's a tremendous amount of economic tension in this country and the educational system is constantly eroding.
My movement from painting to film was a very conscious one.