One of our jobs is to keep women working, which we do by keeping women coming to the movies. And doing that means making good, smart, often funny movies that women can identify with-with terrific dialogue we all remember and cherish, and stories that illuminate our lives and decisions and turning points.

The key to moving a maybe to a yes is to make the buyer feel as though other buyers have already said yes. ... It helps if it's true, but it never is. No one wants to be the first yes. Why is this? I don't know, but I think it's anthropological.

I think there are always actor parts, and then there are movie-star parts, and an actors always an actor until he does a movie-star part.

What turns a work crisis into a life crisis is the infusion of dread.

Directing is the last frontier for women in the movie business. We are studio heads, we are producers and we are writers, but we are not directors in any numbers.

My sense of Los Angeles was very New York provincial, as in 'all those people are crazy out there' (which they are), and stupid (which they're not), and immoral (it's more interesting than that).

with all these tentpoles, franchises, reboots and sequels, is there still room for movies in the movie business?