The thing about Moby Dick is that, at heart, it's a very simple plot - there's only one white whale in the ocean. When you're a boy growing up in a hostile home, you imagine it's unique: it's happening only to you.

The thing I learned from 'Pride and Glory' is that people like to feel a little better leaving the theater than they did coming in.

Being a dad is like - there's nothing more important. So the exploration of that in stories, with parents and fathers and brothers, siblings, I just think that you're always in the terrain of love, whether it's absence of love or the giving of love or the desire for love.

With the rights now in our loving hands, I'm beyond excited to bring 'The Green Hornet' into the 21st century in a meaningful and relevant way: modernizing it and making it accessible to a whole new generation. My intention is to bring a gravitas to 'The Green Hornet' that wipes away the camp and kitsch of the previous iteration.

As a child, our house had a backyard lined with roses tended vigilantly by my mother. So the fragrance fills me with nostalgia for my youth.

I remember when I gave my first recital. I thought, 'Oh, my goodness, people are coming to hear me.' I didn't expect anyone to come, and then the whole hall filled up. Of course, it wasn't a big hall, and some of the people were my friends and family.

I had an instinct to take my husband's name when I got married. It felt like a romantic statement of pride, love, and permanence and of doing what's always been done in my family.

As any female executive with a family knows, you're making mental lists all through the night. You're often not sure you've managed to sleep at all.