It was interesting doing impressions as somebody else doing impressions. Normally, I'll do a voice, and it's me doing the voice. To have to be Robin Williams doing the voice was an interesting sort of study in getting into somebody's head.
I was very, very shy as a younger girl, just petrified of people. Tennis helped give me an identity and made me feel like somebody.
To be a tennis champion, you have to be inflexible. You have to be stubborn. You have to be arrogant. You have to be selfish and self-absorbed. Kind of tunnel vision almost.
Even though there are a lot of bright tennis players out there, you still have to protect yourself and save all your mental and emotional energies for tennis.
I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.
If you're directing, it doesn't really matter any more if it's going straight to TV - what matters is whether you have the resources to make a story that moves you.
It's hard because there's a part of me that wants 'True Detective' to win every award we're nominated for. But I'm a huge fan of 'Breaking Bad' and 'Game of Thrones.'
I'm better suited to be a director, I think. I see myself as the general author. I hate the word 'auteur,' because it sounds so solitary when filmmaking is anything but solitary.
Literally, I don't have a television. So I don't really know what's happening pop-culturally. I read the 'New York Times.' And there's one worldwide cabin blog that I look at.
On 'Sin Nombre,' Adriano Goldman and I improvised a lot of things on-site. We were working with untrained actors, and you can't really block a scene in a traditional way.
The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
I knew exactly how I wanted it to play, but you are never sure until you watch the projected images reflect off the screen. That's when you know it worked.
I think one of the reasons people quit is because they're afraid they won't be able to get better and better; that they have to come to a zenith of some kind.
Polls that have been taken by kindergarten, first- and second-grade teachers indicate that 30 percent of the kids have been deprived in some way so that they are physically unable to keep up with the class.
The Carnegie Foundation is well aware of the fact that their reports frequently find their way to dusty archives in academic institutions, but occasionally people pick up a segment of a report and act upon it.
One of the things we want to do is find ways, first, to impress these parents how important it is to have children in a situation where they can respond to them and, second, to bring intergenerational relationships into play.
In the tropical and subtropical regions, endemic malaria takes first place almost everywhere among the causes of morbidity and mortality, and it constitutes the principal obstacle to the acclimatization of Europeans in these regions.
I had the opportunity of making necropsies on patients dead from malignant fever and of studying the melanaemia, i.e., the formation of black pigment in the blood of patients affected by malaria.
I learned jazz; that comes from blues. I learned rock; that comes from blues. I learned pop; that comes from blues. Even dance, that comes from blues, with the answer-and-response.
What I worry about the most is the competition for young eyeballs. We have so many other competing forms of media. I don't take any audience members for granted.
In films of terror, it's often not about being graphic. Or if there is a graphic image, it's extremely swift. Everyone talks about the shower scene in 'Psycho,' but that's the only graphic scene in the entire film.
