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It's great that New York has large spaces for art. But the enormous immaculate box has become a dated, even oppressive place. Many of these spaces were designed for sprawling installations, large paintings, and the Relational Aesthetics work of the past fifteen years.

The problem with the literary hothouse of New York City is that people spend so much time looking in the mirror. They go to parties with people who are just like them, and they write novels about people who are just like them. It's limiting.

New York is a field of tireless and antagonistic interests undoubtedly fascinating but horribly unreal. Everybody is looking at everybody else a foolish crowd walking on mirrors.

There was a sense of all the things that go on on the street, particularly in New York, that you are just completely unaware of, that that conversation could be happening at any time. I loved the instability of the camera. It's just an unstable world.

There's always been a struggle with filmmakers between art and industry, and you have to find a balance.

I think all art comes out of conflict. When I write I am always looking for the dramatic kernel of an event, the junctures of people's lives when they go in one direction, not another.

The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.

Simply, the majority of the most interesting filmmakers are the ones confronted with difficult situations. Their creativity blows a hole in the wall and lets in the light.

I love the gallery, the arena of representation. It's a commercial world, and morality is based generally around economics, and that's taking place in the art gallery.

Films about women and their concerns are seen as frivolous, limited and, most damaging of all, niche.