For me, I want to see diversity in storytelling sources because we live in a very diverse society, and the stories are for the whole society. That's really important. For me, as a female filmmaker, when I was out on the festival circuit on 2006, I felt like such a freaking anomaly - an oddity.

Hmm, can I be obvious and say there is probably a double standard for male vs. female directors? Sadly, I think that's actually the case. And it probably stems from the fact that there are proportionately so many fewer women directors than men ones that each project is perhaps more closely scrutinized for its content.

My mom was in education, and I remember reading in one of her books about multiple intelligences - this whole theory about how there are all these different ways you can be intelligent, like eight or 10 of them or something. And one of them is emotional.

I feel like this is the way I was meant to interact with acting. Which is as a director, and helping, working with actors to find their way. Facilitating their performances is so satisfying for me.

What I always wanted to get seen as was as a good actor, when it was the acting I was doing. When I'm writing, I want to try to be seen as a good writer.

Put off your imagination, as you put off your overcoat, when you enter the laboratory. Put it on again, as you put on your overcoat, when you leave.

I want a performance style that's more cerebral and emotional than physical. I want to be a creative artist, not a whirling dervish.

You need a pulse in a film. If I see a film that doesn't have rhythm, it's like listening to music that doesn't have rhythm; it doesn't really work.