Quotes from Kari Skogland

Grief is the great equalizer.

The world went tilted in a lovely way - suddenly, television was no longer television. It was like, 'Oh, my God, this is the new world!' I got to work with horses and cannons, and fight sequences and castles.

My husband is an editor, and in fact he was the first person who hired me as an assistant editor. Then we fell in love and the rest was history.

The whole idea of Captain America was borne of a time 80-something years ago. That was a time of the Second World War, and it was an antifascist idea. You had this idea of it being a soldier-warrior. That was the construct for a hero.

Refugees, imperialism, all the things that we are facing right now. What are we going to do with that? What's the moral imperative? Where do we sit with all that, as a worldwide community?

And you know, I've done a lot of research and I've been working on projects that embrace people who are tortured, or exploring what that is.

There's no Marvel list. As a filmmaker, you are not only encouraged, but you are really supported to let your voice shine through. You have total freedom to push, scratch the surface and try things.

If a Canadian novel hasn't been a box-office success, say, 'The Republic of Love,' then producers are reluctant to try again.

I was interested in the human journey, the conundrum of when the right and wrong of both sides get murky. You have to make some very strong choices that you'll have to live with.

I think I probably have a fairly signature style - I tend to have a certain aesthetic - although I try to shake that up, honestly.

I took my Canadian perspective over to Ireland and dug around, and I found a very interesting story and brought it back.

Extreme sports has changed our aesthetics because they slap cameras all over the place and we really know that they are jumping out of a plane or parachuting or whatever it is they're doing.

I've done a fair bit of work in the dramatic space researching extremism and how it operates and it gets inside your head and how people get radicalized by it. It's a very slippery slope.

It's small things like that - a pen, or being able to communicate freely - that we should always cherish.

In the U.S. box-office driven industry, if you want to do a smaller personal film, you have to find your own financing.

When Captain America knocks at your door, you answer.

'Men with Guns' - the producer's cut did not have the artistic and intellectual merit I hoped for, although I am still very proud of the work.

I look at a lot of shows. I look at a really broad spectrum; I look at everything from David Lean to Lina Wertmuller. I look at a really unique and very arty spectrum.

You never create a scene around the Easter egg. The Easter egg is always just, 'Oh, there's an opportunity for something that the fans will enjoy if they can spot it.'

I never felt it wasn't mine. But I was also very respectful of not knowing what I didn't know. Because the Marvel Cinematic Universe is very deep, and unless you live in it you can't possibly know it all.

They just take on great stories and they tell great stories. That's their only objective, at least that's been my experience, so as a result we were encouraged to push the envelope and not hold back. I hugely respect Marvel for that position.

On 'Handmaid's' you are given complete freedom - unlike some shows where you're really expected just to 'fold in' and 'deliver the script' and 'put the camera where we normally put the camera.'

I don't think there's ever a story the MCU tells that couldn't be expanded. They always leave it with some lovely doors that get opened.

I typically come into any project knowing what the opening shot is and what the end shot is.