I find each project, although it's compartmentalized, informs me in some facet. I wake up everyday wanting to be informed.
I would never consent to a lame publicity stunt at a time when I already want to hide.
It doesn't matter if they're in front of the camera or behind the camera. I know women who are producers who are surviving on nothing but juice and almonds.
If being an attractive woman got you attention for directing, then the entire 'best director' category would be comprised of models. To me, that is just the most ludicrous connection that you could make.
I've been watching 'American Idol' since its debut season in 2002. Back then, America hadn't yet evolved into a gladiatorial cybernation of bloggers, tweeters, and self-ordained voice coaches.
I think when you're writing prose there's a lot of attendant description and that's were I used to really go bananas. With a screenplay that all gets filled in by the director, so it just sort of pulls you back by virtue of the form. You also have to use more economy as a screenwriter and so it's kind of limiting in a good way.
I had written the script for Juno and apparently Steven Spielberg had read it. I can't just call him Steven, that's weird. . . Mr. Spielberg had read it and he liked it. He asked me if I would write this television show for him and I said, 'Yeah!'
Happiness is the sublime moment when you get out of your corsets at night.
Writing books is fun because after I do a show for a couple hours, I'm in a bus for 22 hours. It's not hard for me to look out the window and tell a joke here and there.
Don't stumble over something behind you.
When I was four, I just wanted to drive, I collected toy cars. Where does that sort of thing come from? In hindsight you go, 'Oh, liked it because of this. ' Maybe it's just the wheel.