In my neighborhood growing up, 8, 10,12 kids were the norm. Those stay-at-home moms would handle so much physically and emotionally. Even in my early teens, I could tell those ladies were something.

Improvisation, if you play it at the top of your intelligence, leads to a kind of truth that people find really accessible.

I live in this apartment building, and everybody who lives there thinks of me as a housewife. People drop their babies off with me. Or I get notes: 'I'm going to be gone for three days. The keys are under the mat; take care of the cats.' Because they all think I'm home all the time.

I thought of Second City as just the greatest therapeutic job anybody could ever dream of having.

It's always great to see young swimmers and their excitement and the joy that they have in the water.

Jazz, to me, is one of the inherent expressions of Negro life in America: the eternal tom-tom beating in the Negro soul - the tom-tom of revolt against weariness in a white world, a world of subway trains, and work, work, work; the tom-tom of joy and laughter, and pain swallowed in a smile.

When your arms are out wide, you'll capture love and joy and golden moments but other things, too. Mistrust will sneak in on a wave of that joy, and complications will ride the backs of the golden moments, and there will be both love and the risks of love. That's the way it is. That's the design.

I was able to shoot a movie like 'Tree of Life' because I had done 'Y Tu Mama Tambien.' The camera needed to capture that sense of freedom and joy and life you have when you're young.