It's such a paradox. You come from this place where you want fame; you don't want to be bourgeois, but you want to be successful. You want to be accepted, but you also want to be going against the grain. You want to be on the outside, but you want to be on the inside.

The different bodies of my work end themselves when there's no more discovery to be had.

I used to kind of go for it, right? Like, I'd be the one who would say, 'All right, there's Kate Moss. I'm going to try to make out with her.'

For all the drama we all have with our families and all the tension and hostility, I couldn't have done this without my family. Being the people that they are - they're crazy - made it possible for me to be crazy and to live a lifestyle of my own design.

When 'Joy Luck Club' came out, I kind of became a role model for the Asian acting community. I started to talk at colleges and emcee charity things. I'm much more connected to my sense of being Asian now.

I think, to me, the sheer joy of fancy dress is that it allows you to take a break from our very carefully considered and constructed identities.

Imagination disposes of everything; it creates beauty, justice, and happiness, which are everything in this world.

To want friendship is a great fault. Friendship ought to be a gratuitous joy, like the joys afforded by art or life.