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.

I told Mother of my decision to study medicine. She encouraged me to speak to Father... I began in a roundabout way... He listened, looking at me with that serious and penetrating gaze of his that caused me such trepidation, and asked whether I knew what I wanted to do.

I wish that when we weren't filming, we could have full privacy. I wish I could live in a bubble and just be with my family.

I cannot and I will not give up my family. I may not be on the road as often as previous speakers, but I pledge to make up for it with more time communicating our vision, our message.

Family photo albums are so powerful in that they make kids feel valued, cherished and respected.