Growing up, 'Cosmo' was my lifeline to the world. A world that I wanted to be in but couldn't get to yet.

When I was growing up as a child, a magazine, to me, was like a finger beckoning me to the future.

When I was growing up, Sunday lunch was my favorite time as a child. We would have a big Sunday English meal, and we would argue about things.

Every time I've been offered a new job, I've automatically said, 'Oh, I don't think you want me for that job.' It's sort of a weird female - or, at least, it is in me - a weird female defense, when, in fact, what you want to do is scream, 'Hooray, I want to do this!'

You can have 10 bucks to 10 million bucks and if you got a crew, imagination and a lot of people willing to turn in some work next to nothing, you going to have a feature. But you can't get beyond how expensive marketing the movie is, it's so crushing.

You can involve yourself in electronics, computers, puzzles... there's a lot of creativity and brain working. There's a lot to model trains that people don't realize.

In the film work, I love to work mainly from the script and from talking to the directors, so a lot of the music, big portions of the scores that I've made, have been composed before the movies were even shot.

The World Series is played in my doubtless too-nostalgic imagination in some kind of autumn afternoon light, and seeing it exclusively in the bitter chill of midnight breaks the spell of even the best of games.