Women today are dealing with both their independence and also the fact that their lives are built around finding and satisfying the romantic models we grew up with.
I think the whole tension about romanticism is the way it builds and builds, and the moment it's consummated, the tension's over.
I took four years off after 'In the Cut' because I wanted to see who I'd be without work. I even tried being a hermit in the wilderness in New Zealand. I stayed in a warden's hut two-and-a-half hours off the Routeburn Track through the fjords on the South Island. It was early winter, so there was no electricity or running water.
Women often postpone their lives, thinking that if they're not with a partner then it doesn't really count. They're still searching for their prince, in a way. And as much as we don't discuss that, because it's too embarrassing and too sad, I think it really does exist.
I would love to see more women directors because they represent half of the population - and gave birth to the whole world. Without them writing and being directors, the rest of us are not going to know the whole story.
But short films are not inferior, just different. I think the short gives a freedom to film-makers. What's appealing is that you don't have as much responsibility for storytelling and plot. They can be more like a portrait, or a poem.
As for how criticism of Keats' poetry relates to criticism of my own work, I'll leave that for others to decide.
Between 18 and 26 I acted professionally, on the stage and a little bit on television. Acting is okay, but it's quite pressurized. Then I went to England - I wanted to reinvent myself.
I had this spooky psychological thing about 'The Piano' before it began, which was how everybody was going to go nuts on the set. Because a film tends to set up the way people are going to behave.
Because there is that sort of feeling that people don't know what to do with gaps in their lives. It's a scary notion, but actually, if you can stand in space just for a little while, a new door will open, or you'll be able to see in the dark after a while. You'll adjust.
A message I've been telling myself: the cinema is very conservative, and unless you have a story that satisfies you, that is within the unchallenging zone, but you love it, you can't do it as cinema. Otherwise, you better go do it for television, which is more daring now.
I think that the romantic impulse is in all of us and that sometimes we live it for a short time, but it's not part of a sensible way of living. It's a heroic path and it generally ends dangerously. I treasure it in the sense that I believe it's a path of great courage. It can also be the path of the foolhardy and the compulsive.
I didn't like England. I couldn't take the look of the place or the style of friendship. I need more intimacy from people than is considered okay there, and I felt that my personality and my enthusiasms weren't understood. I had to put a big lid on myself.
I can't imagine people telling me what to do - I just can't imagine it.
So many actors are not open in front of the camera - they have a persona.
Tragedy makes you grow up.
When you first fall in love it's so thrilling, you can't wait to throw yourself away and make this new wonderful twosome.
Eight years ago, I was drawn into Keats's world by Andrew Motion's biography. Soon I was reading back and forth between Keats's letters and his poems. The letters were fresh, intimate and irreverent, as though he were present and speaking. The Keats spell went very deep for me.
I can get very philosophical and ask the questions Keats was asking as a young guy. What are we here for? What's a soul? What's it all about? What is thinking about, imagination?
I did this Super-8 film at art school called 'Tissues,' this black comedy about a family whose father has been arrested for child molestation. I was absolutely thrilled by every inch of it, and would throw my projector in the back of my car and show it to anybody who would watch it.