We love those beautiful, Latin American stories where there is an element that's more mysterious and wonderful. I think as a child a lot of us love the idea of the star and more of the supernatural elements.

It's interesting for me to do the commentary with the actors because, as a director, you're so in your own world that you see it from your perspective, your issues and what you were trying to do, and then it's really very fun to hear their perspective on how it was to do a particular scene or how they felt, and sometimes, I didn't even know that, at the time.

As a director, you try to do things that are going to touch the human experience somehow, and emotions that mean something to people. You search for those projects and you hope to realize the potential in a project.

Usually, we have some of those nostalgic moments like, "Oh my god, I can't believe we survived that day," because filmmaking is such a wild roller coaster ride.

Some of the best stuff in all my movies has been improv.

Most of the female-directed films, if they got distribution, would have fewer dollars to support the film and play in fewer theaters than the men. Because the female-directed films go to smaller companies. So the gap starts widening.

Even after I had just done Twilight, which made $400 million at the worldwide box office, I could not get financing for three or four projects that I really loved and I thought people would love because they didn't fit some studio or investor's model of thinking, "This will definitely make money." It's a business and a film does potentially cost millions of dollars, and they have to think that they're going to get their money back somehow.