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.

One of the things Thich Nhat Hanh taught me: he says, "When you're in a hurry, go slower." That works every time, unless you're trying to catch a plane.

I feel the fear touches on something deeper. A sense perhaps of, "My life is speeding past me and I can't get a handle on it."

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.

Every single house has had death visit.

I look at Thich Nhat Hanh and I look at Marshall Rosenberg, and they're more concerned about the long range. And that long range means that you have to sit down with people who don't think like you. I want to reach people who don't think like me.

If you start thinking about who's going to read it [you're writing], or what grade will you get, or is it going to win that award, or are you going to get into this graduate program, you're blocking the light, and the light is that guidance and love we get when we open up our hearts and are guided by our higher selves, or God, or the Buddha Lupe [Buddha and the Virgin of Guadalupe fused together, as they are in the tattoo on Sandra's right arm], or whatever you believe in, or love.