“Well, it is important that people know about the work.”

“To me, the best thing about living like a lab rat, is that sometimes, really rare times, you actually discover something. On the night of a discovery, when you’re lying in bed, you are the only person in the world that knows it’s true.”



“I do believe we’ve known each other since forever.”


“Yes. You know how? When the Big Bang happened, all the atoms in the universe were all smashed together into one little dot that exploded outward, so my atoms and your atoms were certainly together then and… who knows, probably smashed together several times in the last 13.7 billion years, so my atoms have known your atoms and they’ve always known your atoms. My atoms have always loved your atoms.”

“There’s no mythology for women. If you’re reading On Poetics or whatever, the archetypal, primal stories are all about men. With women you’re either Persephone, the innocent that’s captured in the underground, or you’re Aphrodite, the unapproachable goddess. There are no gradations,” explains Brit Marling, always the charming intellectual, speaking from the Los Angeles home where she’s working on her next script. “It’s fascinating to watch women writers and directors wrestling in real time with what it means to invent the feminine narrative from scratch. Does it not look at all like the traditional, linear hero’s journey? That very classic, traditional line that we think of as storytelling. Or does the female version look different? Is it elliptical?”

 … “There are all these things around us all the time that we can sense but can’t explain,” Marling says. “Film becomes one of the beautiful tools for attempting to get at the unseen, to talk about it and to revel in it.”

Brit Marling: Inventing The Female Narrative