I have always done what I wanted to do.

I was like, wait a minute. When I hear my sisters' names, I want to have a joyful feeling in my heart about it.

I have always done what I wanted to do.

When you feel a connection, a gut connection, a heart connection, it's a very special thing. What's familiar to everyone is watching people falling in love; it doesn't happen on screen that often. People fall in lust, then they're suddenly together.

The ones I love most are the people who the flaws show. I like doing characters that we see the total person. If people get afraid to show the flaws because they think, "Oh, then nobody will like them," then you end up with a lot of products, and everybody wants to be frigging heroic all the time - not what people are trapped in every day, like your skirt being in your panties after you walk out of the bathroom. Being human. Sometimes when people are drawn to your work, they're drawn because they recognize themselves or their loved ones or their neighbor in it.

Once our storyline gets under way, I just hope people don't throw cabbages at me in the market.

Americans have a hard time writing moms. I'll get a script and everything's really great and well-drawn, but the mom is like stock footage, they go and get that out. They plug it in, this idea of "mother." You could lift moms out of any script, no matter what the culture, what the neighborhood, what the economic status, and you could switch them around, and they'd be the same person. I think it's because most people don't really have a human idea, a specific life that they attach to who their mother was. Their mother was there for them, so it either gets deified, or the opposite.