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.

The single most important factor in our long-term happiness is the relationships we have with our family and close friends.

I had very few friends. There was nobody I could trust. I left home when I was fifteen. I lived in Washington Square Park.

We used to have skunks that would go under our house and scratch their backs. I remember after I had my first baby, I didn't really have many friends, but I got invited to a dinner with a group of people from town. We all took the same vehicle, and I got in, and someone goes, 'I smell skunk.' I had to fight back tears.

Cremer's 'Nightshade' is a smart blend of romance, action, philosophy, and pagan witchcraft. And, yes, high-schoolers shape-shifting into wolves.