I'm very interested in stopping time. And starting time. There is that aspect of time that I'm playing with, that it's elusive and unnoticed yet really in the end the most important thing.

When you're getting ready, you finally reach a point where your clothes are right and your hair and makeup are right, and you're not comparing yourself to anyone. It's a really great moment. Then you get to the party and it's like, "Oh my god, I'm wearing the wrong thing! I'm garish!" or "I'm underdressed!"

Oh god, success is so exhausting.

Any work that is really great hovers between terrific and terrible.

People are much more willing nowadays to believe that pictures lie than [that] they can express any kind of truth.

The challenge has always been to wrest emotion out of a [doll's] face that we think of as only having one emotion. It's moving a light, moving my camera; it's just this mental investment that I make, and suddenly, everything changes. Parenthetically, I have to say, I don't particularly like dolls, nor have I ever liked them. That's something I really wanted to get out there right away.

My father was a dentist. And my mother was a - do we still say "housewife"? A home engineer.