People aren't so interested in seeing movies about women's problems.

I remember some stories had a very big impact on me, like 'The Little Train That Could,' which is about the importance of not giving up, and 'Little Toot,' about a playful tugboat in the New York harbor.

The whole MS stuff put the kibosh on my career. And I sort of let it go. I even have a friend who went to CBS and said, 'I want Teri Garr to be in this series,' and the head of the network said, 'Oh no, she's got MS.'

If you get your foot in the door doing one kind of part, that's the kind of role they call you for. I can't say I resent it - then I would resent my whole career.

Rocket scientists agree that we have about reached the limit of our ability to travel in space using chemical rockets. To achieve anything near the speed of light we will need a new energy source and a new propellant. Nuclear fission is not an option.

Background scores allow me an absolute flight of the imagination, and I travel in my mind's eye. I do not like the scores to have vocal notes, because they act as a limitation to these flights of fancy.

By the time I'm 40, interplanetary travel will be common. Nobody will want to talk to me at that age, anyway.

Making a film is like making a mixtape. You're collecting all this stuff and putting your favorite stuff into it: you have actors that you like, characters that you're interested in, moments you want to explore, themes you want to deal with, music that you want to put in. It's a pastiche of all these things that deal with how you see the world.