When you become a driver, they don't tell you that you have to switch languages. The drivers have their own language and they don't tell you that as girls. How am I supposed to know that blinking light means something? There are all these little languages that you have to know, but you don't know.

My friend, Dennis Mathis, was reading Eastern European and Japanese experimental writers, and I brought the Latin American writers to his attention, so we exchanged books and bounced off one another.

The comments you'll get from a filmmaker about your performance are going to be very different. My writing workshop is about mixing it up, cross-pollinating, not only in genres but in occupations.

Perhaps the community you mentioned might not come to the story. Sometimes you have to take the story to them, and perform it, and that's another way that I get an alternate point of view that isn't the official version of history out to a community. I feel that's what I've been doing since Caramelo.

People like to blame Mexican food, but look at what's happening globally, look at all the fast foods and products filled with trans fat. Before the Mexican Revolution, a hundred years ago, people were eating what now macrobiotics tells us to eat, corn, black beans, rice. That's what people were eating - and chile peppers. That's a healthy diet. And also they ate a lot of vegetables.

[Dennis Mathis] was very sensitive about keeping the unique way that I spoke English - it had a lot of Mexicanisms or Mexican syntax. So you keep it in because it's adding something unique.

I was the kind of person that was very social and liked to be with an entourage and have lots of parties and have people around me. And now I find I am much more satisfied seeing people one-on-one. I avoid crowds, and I get really plagued by people as if they are bees or something. I am talking about my friends. I can only handle them one at a time.