My husband, Brian Lindstrom, is my biggest supporter. There’s no doing it without him. When I was writing Torch, he believed in me more than I believed in myself. He’s always, always, always been there for me, every time I needed him. He encourages me. He believes in me.

But I need to show my work during the process. In the editing room, very often I invite friends and I do some test screenings with friends or people I know: editors, journalists sometimes. I ask them, Is it boring? Is it too long? What do you think?

There are so many people I’ve loved working with, but you’ve got to get the right person for the project.

You're missing it. This is not a one-man show. What's reinvigorating this company is two things: One, there's a lot of really talented people in this company who listened to the world tell them they were losers for a couple of years, and some of them were on the verge of starting to believe it themselves. But they're not losers. What they didn't have was a good set of coaches, a good plan.

I just don't really see the dialectic between inside and outside, and corporate and revolutionary, as being as cut and dry as I used to.

really watching a lot of work. Also finding the right people to associate with and learn from in terms of work.

I tried to get funding to shoot this film and couldn’t—nobody wanted to touch it, you know?

My fear, my anxiety, that I’m grappling with in this film, is that if we’re not able to struggle with the domestic things

I’d have lesser expectations — those expectations not being as great might actually be more effective

I am my target audience