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I think it's always harder in a film to convey intimacy.

I focus on the elements of a movie that are meant to invisibly affect me as a viewer. The edges. As an author, I'm aware of how the subconscious things can pluck at a reader's emotions, and I love it when filmmakers do the same.

The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.

I have a hard time articulating the emotional experience of working on a film. Even when I have meetings on films or discussing them with directors, I find that's my biggest challenge. Different words mean different things to people.

There's a method to the madness in filmmaking, where everything's very specifically laid out, the shots and what they need - but there also can be a freedom to allowing the actors to find genuine moments.

Movie characters rarely get to think out loud or talk very much about their emotions. Instead they have to, very briefly, show their feelings through their action or through dialog.

You may not quite understand the cinematic tricks that go behind the making of a film, but as long as you feel it, I think that's the important thing.

You know, with the film industry crews, there's an odd mix between a very technical and a very artistic approach to the work, and sometimes as a woman you have to be a little bit careful about how things come out because people don't really want to listen if it's in a certain emotional tone or too strong.