Far too often, I have been accepted or rejected for work because of the color of my skin.
I think we need stories, and we need to tell the stories over and over and over not only to remind us, but to be able to have that clarity of experience that changes us, so that we know who we are now because of who we have been at some other time.
I'm passionate about old people because I am one myself.
People are always fascinated by infidelity because, in the end - whether we've had direct experience or not - there's part of you that knows there's absolutely no more piercing betrayal. People are undone by it.
I love white shirts because they feel like a security blanket. You can wear them with anything. It's the person and the way that they wear it that makes it different. I have been designing white shirts forever, but I don't get tired of it.
I didn't like the '60s because it was too important what people who had nothing to do with the war thought about it.
I grew up conservative because my mum was a conservative, and when I finally realized what conservatives were, I changed my mind immediately. As children, we tend to copy our parents.
If we want to impact hundreds - or millions - of people, we have to do things differently. If we look at the problem as an infrastructural problem, we cannot make an impact because it requires a lot of effort. But when we convert this problem into a knowledge problem, suddenly the problem is manageable.
With 'Invisible,' I didn't want to create something that requires you to watch it more than once; I don't even expect people to watch it more than once per se. I just wanted you to have the experience and knowing that if you watch it a second time, it would be different because you would see different things.
Single-camera is more relentless because it's eight 14-hour days no matter how you slice it.
Personally, I'm kind of swirling in this hurricane of virtual reality because of 'Ready Player One.'
I have an economics degree with a minor in sociology. The reason I have that is because I want to do a ministry in urban areas and help with underprivileged kids.
In Morocco, a Muslim country, I got to hear the call to prayer five times a day. At first it felt kind of scary, kind of dangerous, because of the propaganda towards anything Muslim in the U.S. subconsciously coming out in me. By the end of the trip, it was so beautiful, and then not hearing it when I got back to L.A. really threw me off.
My job is designing shoes. It's work that happens behind the scenes, as they say, and that suits me just fine because in general I am a shy person. But sometimes I have these extroverted outbursts.
So many people in the world would rather stay in a situation that's painful but familiar because they're comfortable with it. Not a lot of people have the strength or heart to realize when something's not good for them and to turn around and be alone.
We've become a little spoiled with menswear in particular because, of course, we've come off a period in the '70s and '80s when Armani, which is very soft, dominated menswear. And we've become obsessed with comfort. I actually don't like that.
I couldn't make it on the swimming team in high school. In fact, I got thrown off the swimming team and was forced to audition for the school play because they had at the audition about 35 girls show up and no boys, so my swimming coach suggested that I might be able to do the drama department more good than I was doing the swimming team.
I think place and time for me is often a matter of convenience, something I can use to another end rather than something I'm trying to define because it's somehow fascinating to me in itself. It's more what the place can do for the larger goals I have for the work.
Two hours onstage... that's the best part because it makes it all worth it.
I think I compose as a listener: improvising and listening back excites me because I get to ideas that never would have occurred. Then I bring in the computers and samplers... and I begin to loop and process and change them.
The three theater peeps I would love to dine with are Mel Brooks, because he is so funny; Stephen Sondheim, because he is a god-like genius; and Ethel Merman, to compare notes on fabulous belting.
I've been fortunate because I got the gift to do comedy and drama. When you can do both, you get twice as many parts as anyone else.
I want to show people that I am that good friend and the person that a lot of people actually come to confide in or even, just, to be around that good energy, because that's what I'm all about.
When people are crass or loudmouthed, it's not because they don't give a damn. It's from fear and insecurity.
It's interesting, because I named my first album after my dad because I wanted to find him. My second album was named after my mom because I felt like I learned all my creative talents I learned from her. All the survival stuff, too. And then the next album is 'Maya,' which is not my real name. It's fake.
I'm not a big fan of doing it because I get really frustrated because I can't do any of the tricks, but I love to watch magic.
Religion works. I know there's comfort there, a crash pad. It's something to explain the world and tell you there is something bigger than you, and it is going to be alright in the end. It works because it's comforting.
I don't sing now, because I had polio when I was 15, bulbar polio. This was when the epidemic was happening. And I was lucky that it didn't affect my lungs or my legs. It went to my face and kind of paralyzed my vocal chords, and I wasn't able to sing. And they said I was very lucky that I would get over it, which I did.
New York is not the centre for American culture and art that it once was because of the forces of conservatism. Giuliani, capitalism - and then there was 9/11. I really believe that if I leave, it will suffer! Maybe that's why I love it here, because I feel wanted.
I think people were just seriously happy to find a funny woman who does comedy like a man. Because I learned how to do comedy from guys, from watching those Dean Martin roasts years ago.
Audiences change because life changes. Countries change geographically, climatically, socially and morally. Many things happen, and cinema, in a sense, reflects what's happening in the world.
If an African-American or a recent immigrant - or anyone else, for that matter - can't feel secure walking into a police station or up to a police officer to report a crime, because of a fear that they're not going to be treated well, then everything else that we promise is on a shaky foundation.
People are interested in things not necessarily covered by the mainstream media, so they download things online. The categories are growing because people find out that they're not able to get information about stories that are of interest to them on the evening news.
As a writer of fiction who deals with technology, I necessarily deal with the history of technology and the history of technologically induced social change. I roam up and down it in a kind of special way because I roam down it into history, which is invariably itself a speculative affair.
I'm the non-executive chairman of nine or so major companies, and on the nine companies, it's a little trying because you jump from one industry to another, as the case might be. But one had the reasonable knowledge of those nine activities, and it's been an exciting job.
Don't look forward to the day you stop suffering, because when it comes you'll know you're dead.
