I didn't really realize I was a woman director until I walked onto the set at Pinewood Studios when I did 'Mamma Mia!' and everybody was calling each other 'Governor' and 'Sir'... and then, looking at me, 'Well... good morning!'
In management terms, directing opera certainly prepares you for a film set: the magnitude of it, the experts in other fields that you have to call on. Both are massive ensemble jobs in which there's incredible pressure to get things done on time and on budget - so much so that making the wrong decision may be better than making no decision at all.
Frankly, I find it very odd that, in a population that's more than 50 per cent of women, that Hollywood isn't producing more movies to cater to that audience. The demographic is being grossly underserved, in my opinion.
I have been very lucky, and I think it all goes back to state subsidy for the arts. I gained my training and confidence and credentials in the not-for-profit world, and in England, that does not mean on the fringe of things. It means right at the centre.
In London, it's quite a rarefied activity to be on an analyst's couch.
In a way, the debate about Margaret Thatcher in Britain has just gotten fossilized in this notion that she is either this she-devil who wrecked the industrial base of the country and ruined the lives of millions, or she is the blessed Margaret who saved the nation and rescued us from our post-war decline.
