I wrote the script to 'Lady Bird,' and it really came out of a desire to make a project about home - like, what the meaning of home is, and place. I knew Sacramento very well, obviously, growing up there, and I felt like the right way to tell a story of a place was through a person who's about to leave it.

I just don't feel like I've seen very many movies about 17-year-old girls where the question is not, 'Will she find the right guy' or 'Will he find her?' The question should be, 'Is she going to occupy her personhood?' Because I think we're very unused to seeing female characters, particularly young female characters, as people.

I'm really interested in trying to tell stories about women that don't involve romantic components. That's so much a part of the way we feel about female characters and their needs that it feels like it's built in - but I'd like to find a way that it's not. There are so many more stories than that.

When you're writing a screenplay, it's like you're dreaming the film for yourself again and again and again until it becomes almost like a memory before you make it.

In the old world of business, there was often just one seat at the leadership table for women, two at best. That meant that only so many women could advance. But in a world where women recognize the power that they own - and where technology can upend the traditional rules of engagement - one woman winning doesn't mean another loses.

I have a lot of feminist idols. My favorite thing about growing up in Arkansas - well, not favorite but something I've always felt grateful for - was that I really had to dig for what I could. There was no Internet. There wasn't tons of feminist literature floating around.

Information technology is at the core of how you do your business and how your business model itself evolves.

The Internet unfortunately means that, although a lot of truth and good stuff can spread as a result of the Internet, I think bad stuff and negativity spreads even more quickly.