The point is the 'me' that you see before you is not the 'me' in my private little space, shape-shifting into the writing role, nor is it the 'me' that works with the actors. Here, at the end of the film doing interviews, I feel like I'm in disguise.

The concentration of the elite athlete is akin perhaps to the concentration of the writer.

I think every single person perceives things differently. We are all singular.

There is a difference between a voyeur and a tender witness. Maybe I think the audience is more of a tender witness than a voyeur, which has a shady undertone.

Having a family, taking care of your kids and people outside yourself, maybe it's motivated me more to give that extra something.

In 'Bras & Broomsticks,' Rachel Weinstein gets the shock of her life when she discovers that her mom and her younger sister, Miri, are both... witches! In 'Frogs & French Kisses,' Rachel and her witchy family are back - Miri is busy zapping up ways to save the world, while Mom has gone boy crazy and become a magicaholic.

My mother was a big influence; she was exceedingly chic, completely dressed in a completely different manner than I did. I was a child of the Depression, so she taught me all about accessories, and I always tell everybody she worships at the altar of the accessory.

I've spent my whole career trying to stay out of any box that anyone could put me in. 'I'm going to do a play now.' 'Now I'll do a musical.' That was my instinct. So I don't feel boxed in. But 'African-American woman' is part of my identity. I don't want to relinquish that - especially as a mother, helping my daughter find her identity.