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You never think the universe will reward your first choice - it just doesn't work like that.
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One of the elements in the film that really fascinated me was not to look at the world in bi-polar terms of us vs them or east vs west, which was a by-product of the Cold War.
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It's irrelevant who or what directed a movie; the important thing is that you either respond to it or you don't.
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Character and emotionality don't always have to be relegated to quieter, more simple constructs.
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I'm drawn to filmmaking that can transport me. Film can immerse you, put you there.
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One should make morals judgements for oneself.
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I did a pilot for Anything But Love in 1988 that didn't sell.
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My movement from painting to film was a very conscious one.
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I realised that there's a more muscular approach to film-making that I found very inspiring.
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I like high impact movies.
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I suppose I like to think of myself as a film-maker.
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I don't believe in censorship in any form.
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There should be more women directing; I think there's just not the awareness that it's really possible.
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When he brought it to me four years ago, Rodney King had just arrived, I was involved in the clean-up of L.A. and I guess it was part of my experience.
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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.
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You only have so much money to shoot a movie with.
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Jordan is a very secular, Westernized country in some respects.
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My interest is to work in as uncompromised a way as possible.
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I've always developed all my own pieces, and they're time-consumers.
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I don't do what I do to try and break a glass ceiling.
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I like to be strong.
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The Communist regime didn't consider this to be a shining moment in history and assigned no heroism to it. They classified it as merely an accident.
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Cinema has the capacity to be so physiological.
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The urge to purge the material I come up with is, I guess, an ongoing process.