Biography

The problem with music videos is that first and foremost you're working in an environment where you're selling a product, ultimately. And I think that gets problematic because, with my brief experience in the studio system, it's so important to insulate yourself from those concerns. And if you know from the beginning that you can't insulate yourself, it infects you.

I don't think I'm ever going to work on a movie again where I don't have final cut. I've realized I'm a strong-minded director with a very clear sense of what I want to do, and I just want to be left alone to do it and I'm not sure the studios are necessarily the most instructive places for filmmakers to be, except to maybe to learn about the hard realities of commerce and art intermingling.

I found myself initially making sort of personal documentaries. I became very interested in the idea of experimental narrative. Documentary was really helpful to me at the time to understand the mechanics of storytelling. And I still find a good documentary feels as gripping if not more so than a good narrative feature, because you're still crafting a story.

[film she re-watched more than any other] I revisit Roman Polanski's Rosemary's Baby (1968) at least every year. That film is endlessly watchable: funny, scary, and a sly feminist fable about the pitfalls of the patriarchy. I quote it back to the screen as if in a trance. [2016]

When I saw Michael Ritchie's Smile (1975), I was humbled by its craft and style (because he makes it look so easy) - but Ritchie's cinematic interests were my own. His affectionate portrait of young girls in a local beauty pageant is filled with interesting faces, almost-too-big performances (Bruce Dern! Barbara Feldon!), and a genuine sense of beauty. The film has a gentle humor, a sense of its own politics and a real love of his characters. I was so inspired by it and I continue to watch it for its many lessons. [2016]