The only time I've really been away from my kids to do work was doing Shall We Dance because they both were in camp and it was the first time in twenty years that I haven't been with my kids.

There is no shortcut to grieving.

I think you have to ask yourself, what is the point of the script? What is the script selling? Because all scripts are political, every story is political. It either challenges or reinforces some schism or stereotype. So what is the project going to say at the end of the day? What does it tell you about the world, or what does it challenge in terms of your world?

I think looking at your own life, on- and offscreen, you can motivate anything, or you can delude yourself into anything.

I'm a native New Yorker. Everything to do with New York feels like my family.

I can't speak for other people, but for me, it never really worked to think something like, "What Beatle did she like in high school?" or those kinds of elaborate backstories.

It is important to have a woman editor. Movie is an industry where it is predominantly women. Male editors might cut out pauses that are interesting, while a woman might not be afraid of that pause. Trying to do a movie with an editor who is not funny is impossible. There are certain talents that go with certain genders.