The terrain of the face is the most dynamic thing you can point the camera at, to me. I love production design and bells and whistles and all of that. I love a technograin as much as the next gal, but a great actor's face? What else should we be looking at?

Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through.

When you force sleep, it doesn't happen.

For film, you know, the Tarantinos and Nolans of the world who are very focused on a certain kind of film aesthetic and a certain kind of presentation, to be honest, that comes from a place of privilege. It comes from a place of always having access to such, but when you ain't never - you can't see it because you can't even get to it.

I think good publicists are just like good mommies - always looking out, making sure folks are comfortable and making sure that folks are on time and making sure that folks are getting what they need and know what they need to do.

Those [old] days are gone... accept the reality and do it.

I'm making and marketing my films, by any means necessary, and enjoying life while I do so.