Is she INFp or INTp?
I'm basically interested in identity, and I still find fascinating the question, "How do we identify ourselves, and how do we settle into other people's expectations for our identity?"
There is something insane about a lack of doubt. Doubt, to me anyway, is what makes you human, and without doubt even the righteous lose their grip not only on reality but also on their humanity.
I don't think I'm courageous. One man's courage is another man's comfort zone. "We Need to Talk About Kevin" explored a taboo subject: the idea of a less than perfect mother. I knew that, when an audience watched the film, there would be a gag reflex at some point. But I was fascinated by the subject - it scared me, and that interested me.
It's a real comfort zone for me to feel alien.
I believe that all great art holds the power to dissolve things: time, distance, difference, injustice, alienation, despair. I believe that all great art holds the power to mend things: join, comfort, inspire hope in fellowship, reconcile us to ourselves. Art is good for my soul precisely because it reminds me that we have souls in the first place.
I never quite understand the way society decides who is beautiful and who is not. But an open face and a capacity for kindness always feel like reliable signifiers to me.
I'm from the same planet as David Bowie.
What children, in fact all of us at any age, find frightening is unreliability and emotional coldness. The idea that you can't affect someone, that you can't see where they're coming from and can change tact at any moment.
I remember noticing, when I had my babies, how much I liked them, and not just loved them, but I was really into them. I knew I was going to be curious about them, and up for the mayhem ahead.
[on meeting Delphine Seyrig] She was so beautiful, but that wasn't the most important thing about her. She knew she was beautiful, and she'd stare at you as if to say, 'alright, have a look,' but then she drew you in much, much deeper.
[on not considering herself an actor] I don't know what it would take for me to feel like one. I understand it's a strange thing to say because I do keep saying, 'Yes, I'll dress up and be in your film.' But when I hear proper actors talking about their lives and how they approach their work, I feel like I'm up another tree.
[on what cinema means to her as an art form] My guides in this inquiry are my children who are now 16 -- they're twins. They're like lab rats really, they're very grateful. When I first started thinking about cinema for them, I started to really examine my own desires about cinema for myself... It was really to do with the children and seeing their eyes opening. And I started thinking about why cinema is good for the soul, and what it gives us. In a nutshell, what it is for me is this amazingly humane opportunity to put yourselves in the shoes of someone else. It's no more complicated and no less powerful than that. You go in, it all goes dark, and you put yourself in someone else's shoes and see through their eyes. That's just mega, it's so powerful. Even a painter, who can do it, only can do less. A painter at one time is showing you one frame, but a filmmaker can take you into an experience and an existential atmosphere that may be a trip for you. It's like a magic carpet. This is how I feel about cinema.
[on not taking her personal nor her professional life too seriously] I'm playful at heart. And myth-making is always fun.