You can have a lot of destruction, but in a realistic female movie, the women are going to be aware of that destruction and apologizing for it.

I have felt that there's a lot of receptiveness to female stories now. I think some of it has a little bit - a lot of it is economically driven and driven by, just, kind of studios wanting to check that box because now they know they have a woman problem that they need to solve.

I didn't have a lot of men to ask questions of when I was starting out. There were two female directors people suggested I talk to when I was starting out, and they were Nancy Meyers and Kathryn Bigelow.

I feel like most movies about female friends derive their conflict from an extension of the high school movie rivalries, or there's some petty grievance: a competition over a guy or a wedding date or something. And I don't relate to any of that.

The value of marriage is not that adults produce children but that children produce adults.

No, no, it was the relationships. That was that group. People believed that Rob and Laura were really married in real life. You know, a lot of people believed that.

My father, a refugee from Eastern Europe, was preparing a fraudulent marriage to an American citizen as a route to this country when he was sponsored, making fraud unnecessary. My wife's grandfather bought papers from another Chinese villager to be able to come to the United States.

As a lover of both hip-hop and jazz, I feel like much of the latter community still doesn't truly embrace hip-hop as a musical extension.