When I started watching Breaking Bad, I binge-watched it. I thought it was so good that I started to cry. It's the only time in my life I've been completely jealous, the only time. I was like, [imitates crying] "I want to do what Bryan Cranston gets to do. I want a part like that." [both laugh] Isn't that pathetic?

Behind the cameras, there's a different problem, which I think is not unconscious gender bias. It's probably categorized more as conscious gender bias. Because everybody's known the numbers for decades. Nobody's stunned to hear there are very few female directors, only 4 or 7 percent. Everybody knows, but it doesn't change anything. It doesn't make people say, "Wow! We should change that." Nothing happens. It's utterly stagnant.

It's a horrible and wonderful battle with yourself, to stay calm, stay in the moment. My coach said, "Stay here, not at the target. Don't be down there." It's why they call it the Zen art.

On film, you can't do it over again. And you do have to stop shooting at a certain point.

An eye-opening moment in my life, a very defining moment, was the first time I met Susan Sarandon [before shooting Thelma & Louise]. We were going to meet, just Ridley [Scott] and Susan and I, to go through the script and see if we had any thoughts or ideas. I was reading the script, and in the most girly way possible, meaning that if it was a line that could change or something different I'd like to see, I would think about each one and say, "Well, this one can wait till the set because I don't want to bring up too many things."

Are you stupid or did you just take lessons?

The most important thing is to change what children see from the beginning. To not create a problem we have to fix later.