Nature is full of drama. I know nothing about biology, about birds, about insects, about the details of politics. I just make movies about human interest stories.
I want to have some effect on the way the world works in whatever way I can, and I also want to have the power to help get the movies that I think are important made.
There's too many people in seats of power who just haven't got a clue what they're doing. They're bean counters, and it just pisses me off because consequently our kids go to see crap movies.
The truth is that I've always wanted to be an actor, ever since I was a child. I used to see these English movies which were shown to us in our school every Saturday, and then I used to enact the hero's part in my head.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the f...
I loved old black and white movies, especially the Fred Astaire and Ginger Rogers musicals. I loved everything about them - the songs, the music, the romance and the spectacle. They were real class and I knew that I wanted to be in that world.
I got a role in this movie called Freeway playing this really angry, aggressive, violent young woman who believed wholeheartedly in the truth. I had such satisfaction afterward, and I thought, That's what I want to do.
The essential truth is that sometimes you're worried that they'll find out it's a fluke, that you don't really have it. You've lost the muse or - the worst dread - you never had it at all. I went through all that madness early on.
When part of what you're trying to get at is the truth hidden under a taboo, or when you want to nail a hypocrisy, laughter is a very useful tool. I want to show the painful side of existence, but there is no question I also want to make people laugh...
You have to realise that I am the third out of six children, and I am raised with very strong core values and a very strong upbringing. I always put myself in other people's shoes.
At school, a careers adviser asked me what I wanted to be, and I said 'fashion journalist,' so writing for 'Vogue' has provided me with the opportunity to fulfill a dream.
I think Maje typifies that French vibe where it's simple items that are very practical, very wearable but also, like, incredibly chic and expensive-looking.
When you treat yourself right, you run better and more efficiently. Which means you don't have to go 100 miles an hour to get everything done.
I was dishwasher, then promoted to chef in a local kitchen in a restaurant in Seattle, and I was working on a building site as well, putting in insulation and painting houses, and then doing some classes at a community college nearby.
I do most of my shopping over the Internet because as a busy working mum I can do the supermarket shop when the kids have gone to bed.
I believe in businesses where you engage in creative thinking, and where you form some of your deepest relationships. If it isn't about the production of the human spirit, we are in big trouble.
'The New York Times' is inherent in what we are, but not worn as 'what we are'; it's important and crucial to all of us, but not something that was drilled in, in any specific ways.
Once we decided to do a tower in New York, it had to say something about our group, reflecting the mix of modernity and creativity in our organization. It's a symbol.
When I interview someone, I know in the first two minutes if I like them or not. I find that if it's easy to talk to someone and I see an openness and honesty and integrity, then I usually hire them.
I don't believe any lip shade is off-limits, but texture is key. A sheer lipstick in a healthy pink or neutral color looks more polished and grown-up than a super-shiny gloss.
When I first got into making makeup, I didn't necessarily want to start a company. I just wanted to make a lipstick that looked like lips, only better.
