The Internet has crept up on us, and we need to know what it is and start looking at it. We have to decide which bits we want, which bits we don't, and how we're going to use them - and how we're going to put pressure on the people who deliver these goods to deliver what we really want.

I love text, I love email, I love Skype; I think it's amazing.

I want to talk about privacy, the quality of the information you receive, whether it's neutral or commercial or pointed, bringing consciousness to the lack of neutrality in the algorithms.

We think that there is this terrible idea that the kids are digital natives... and they know what they're doing, but all the evidence says that they're hanging around going, 'Where are you, I'm here, can I post my picture?' They're not actually writing wikis; they're not actually listening to great poets live.

We have allowed a situation to develop in which it is legal for a multibillion dollar industry to own, wholly and in perpetuity, the intimate and personal details of children.

At 99 and after a long stay in a nursing home, the death of legendary photographer Eve Arnold was hardly a surprise - though she may have been just a little annoyed to quit a few months short of 100.

Vittorio De Sica famously made 'Bicycle Thieves'; that's the film of his everybody knows.

I am still cautiously hopeful about the potential of the Internet. But it seems that the greatest revolution in communication has been hijacked by commercial values.

Everything a teenager does, says or looks at, however transitory, contributes to an aggregated virtual self that might one day have consequences for its real-life counterpart. How many of us would keep all our relationships and reputations intact if every transgression, mistake or youthful folly was held in public view?

Our children, manipulated to become exemplary consumers, increasingly admit they do not feel 'in control' of their own Internet use.

The devices that our kids use are shipped from the factory with every possible audio, visual or vibration alert switched on. Each new app, website, tweet and message adds another layer of intrusion - each intrusion is cynically designed to get a response, and each response creates an appetite for another intrusion.

For most women, Greenham was a place of principle, growth and song. Often joyful, sometimes terrifying, and almost always cold. As it got harder, with constant evictions and mounting violence from a frustrated and humiliated police force, the women got more determined. It was a community with a shared purpose - to live in peace.

The Greenham women left home for peace: 'Not in our name!' they cried. And in doing so, they spoke for millions.

Arguably, it was the introduction of international non-proliferation treaties in the late '80s that finally led to the missiles being removed from Greenham Common.

In 1982, fellow film student Amanda Richardson and I went to Greenham Common for the day - to see what was going on and to shoot some video. The day turned into a weekend, the weekend into seven months, and the dozens of hours of footage turned into a film - 'Carry Greenham Home.'

We now have powerful technology, which allows us a voice across boundaries, which was unimaginable at the time of the Greenham Protest, a protest that pre-dates the Internet and the mobile phone.

If we don't record our own history on the Net, it will disappear.

The previous generation paved the way for my generation to gallop unheeded into jobs previously reserved for men.

Unfortunately, teatime in London is when people in Los Angeles arrive in their offices and pick up the phone.

During my 'difficult teens,' I read about worlds that were mysterious.

My children know not to shout before Mummy has warmed herself into something human with her coffee.

We need to work out who is paying for film; in the U.K., it is increasingly difficult to get production funds - and pre-sales demand more and more shot/cut material.

In the U.S., it would be so much better if the studios made many more smaller films for niche markets rather than a few tent pole films that swamp cinemas and Hoover up all the funding.

Make films whenever and however you can - don't take no for an answer.