Laurie Anderson’s Farewell to Lou Reed, 2013.'When you marry your best friend of many years, there should be another name for it. But the thing that surprised me about getting married was the way it altered time. And also the way it added a tenderness that was somehow completely new. To paraphrase the great Willie Nelson: “Ninety percent of the people in the world end up with the wrong person. And that's what makes the jukebox spin.”'
Missing and loving Francis. My only guy in town (the world?) who calls weekly to interrupt work for an hour-long visit about nothing, and everything.

Laurie Anderson’s Farewell to Lou Reed, 2013.
'When you marry your best friend of many years, there should be another name for it. But the thing that surprised me about getting married was the way it altered time. And also the way it added a tenderness that was somehow completely new. To paraphrase the great Willie Nelson: “Ninety percent of the people in the world end up with the wrong person. And that's what makes the jukebox spin.”'

Missing and loving Francis. My only guy in town (the world?) who calls weekly to interrupt work for an hour-long visit about nothing, and everything.

The Wire, 2002.I’m drawn to really, really sad shit. Sad music, sad characters, sad stories. I’ve lived long enough and had enough therapy to figure out why, but I still have a hard time embracing the truth: I like sad shit. It’s like going home, seeing your mom smiling at the end of the bed after you wake up after a bad night at the townie bar, still loving you, still accepting, even after you’ve shamed the world, and her, and yourself. It’s all just sad. And it’ll happen again, God willing. The girl who lived.

The Wire, 2002.
I’m drawn to really, really sad shit. Sad music, sad characters, sad stories. I’ve lived long enough and had enough therapy to figure out why, but I still have a hard time embracing the truth: I like sad shit. It’s like going home, seeing your mom smiling at the end of the bed after you wake up after a bad night at the townie bar, still loving you, still accepting, even after you’ve shamed the world, and her, and yourself. It’s all just sad. And it’ll happen again, God willing. The girl who lived.

Bridget Jones’s Diary, 2001.Today is my birthday: ‘To Bridget, who cannot cook, but who we love - just as she is.’

Bridget Jones’s Diary, 2001.
Today is my birthday: ‘To Bridget, who cannot cook, but who we love - just as she is.’

The Warriors, 1979.I hated her, then I loved her. And what happened to Cleon?

The Warriors, 1979.
I hated her, then I loved her. And what happened to Cleon?

2 Days in Paris, 2007.Julie Delpy on female directors: ‘When my friends that are aspiring women directors tell me they walked into a room and didn’t get the job and say, “I don’t know what I did wrong — they didn’t go for it. I was passionate, I was telling them how much the project means to me.” I always tell them, “Don’t do that. Don’t be passionate! Ever! Be an accountant.” Because I think being a woman director, being this person in charge, [they think] we are weird, crazy animals. We can’t have this kind of calm — they really want people that they feel have no emotions. So I think emotions and women, it’s always been kind of a scary thing, I think, for a few financiers. I think they need reassurance that women are unemotional, because they feel that a good director should be kind of unemotional. They don’t make movies because they like movies — they make movies because it’s a business. So you have to be a businesswoman.’

2 Days in Paris, 2007.
Julie Delpy on female directors: ‘When my friends that are aspiring women directors tell me they walked into a room and didn’t get the job and say, “I don’t know what I did wrong — they didn’t go for it. I was passionate, I was telling them how much the project means to me.” I always tell them, “Don’t do that. Don’t be passionate! Ever! Be an accountant.” Because I think being a woman director, being this person in charge, [they think] we are weird, crazy animals. We can’t have this kind of calm — they really want people that they feel have no emotions. So I think emotions and women, it’s always been kind of a scary thing, I think, for a few financiers. I think they need reassurance that women are unemotional, because they feel that a good director should be kind of unemotional. They don’t make movies because they like movies — they make movies because it’s a business. So you have to be a businesswoman.’

Christo’s Valley Curtain, 1974.

Christo’s Valley Curtain, 1974.

We Need To Talk About Kevin, 2011.I missed the letters and Eva’s narration, but I could watch Tilda watch paint dry. 

We Need To Talk About Kevin, 2011.
I missed the letters and Eva’s narration, but I could watch Tilda watch paint dry. 

Ulay with Marina Abramovic, The Artist is Present, 2010, Ipek Irgit, 2010.Repairing the broken, in five minutes or less

Ulay with Marina Abramovic, The Artist is Present, 2010, Ipek Irgit, 2010.
Repairing the broken, in five minutes or less

Rumble Fish, 1983.

Rumble Fish, 1983.

Four Rooms, 1995.My favorite shot, least favorite story.

Four Rooms, 1995.
My favorite shot, least favorite story.