“I like working in a really private way. I mean, we got as far as a cut of [Old Joy] without speaking to any kind of lawyer or anything. We got into Sundance before we thought we should form a company. Aside from a lot of sound work and stuff still to go, it was all very private, and that’s a dream for me.”
“Nothing in the world can be compared to the human face. There is no greater experience in a studio than to witness the expression of a sensitive face under the mysterious power of inspiration. To see it animated from inside, and turning into poetry.”
“Anybody who comes to the cinema is bringing their whole sexual history, their literary history, their movie literacy, their culture, their language, their religion, whatever they've got. I can't possibly manipulate all of that, nor do I want to.”
“Things are being simplified a lot for us lately. I think people are hungry for something that shows more respect for the complexity of life, the depth, the grey areas.”
“For me, the present is a golden era that’s ending too. That’s the greatest golden era. Right now. [Laughs.] I just like pining for lost times. I can pine for this morning.”
“Perhaps it makes sense that a woman whose earliest memory was on the set of Apocalypse Now would grow up to direct a dark fable about five adolescent girls who unapologetically and unceremoniously kill themselves...”
“It is my duty to direct because the films might be the inner chronicle of what we are, and we have to articulate ourselves. Otherwise we would be cows in the field.”