I also have always felt that television has a huge potential for the kinds of audiences that some films would never dream or ever be able to have. So that potential is very exciting to me.
Mounting those red stairs [in Cannes] is something I've done with a very different intention many times. So it's interesting any time you witness those shifts of perspective. The beach scenes were also fun. It felt very strange and very theatrical to kind of commandeer it and have La Mer booming over the speakers.
I try not to be a prisoner to those kinds of thoughts or ideas of what I think my life should be or shouldn't be. That's why I've never had a five-year plan. I always knew that I wanted to have children. It wasn't kind of something that I discovered later. I also never felt the biological clock ticking because I think I always knew that I wanted to adopt.
I think I always knew that I wanted to adopt. It never meant that I didn't want to have my own children - I always felt that if I were in the right circumstances then I would totally have my own children.
I felt people responded to two things. One, obviously, is the gore and the scenes like the eye gauging.
When people call me a sex icon, it's flattering but it never goes to my head because I never felt sexy as a teenager.
I never felt I had to prove myself with anything.
Quentin Tarantino faced the same backlash when his films came out until eventually people felt they were actually much smarter.
I used to be a huge fan of Heavy Metal magazine growing up, and I was exposed to Cobalt there and fell in love with the character and the world. I've tried to track it down and pursue it myself to make a movie out of it. Also I felt like the thing that's cool about Cobalt is it does have a culty kind of underground quality to it that I really like.
I felt slightly snobby about the genre. My pre-conceived notion of the comic book world had been: "Oh, that's nothing that I need to worry about!"
There are people who just collect a bunch of footage and then edit it later. You definitely feel more protected when a director is moving on when you've actually felt something happen and you know they're watching intently.
It was difficult in India to find an eight year old who could play a widow. The reason for that is that most of the children in India are really exposed to Bollywood. It's commercial Indian cinema which is really over the top. To find an actor, or even a non-actor, who felt natural was difficult.
I've always felt very comfortable with accents. Once I get an accent, I can do it, and that's just something I've been able to do my whole life.
I've had frustrated storytelling juices that have been lying dormant for a long time, and I guess the documentary was a way of me telling a story that I felt most qualified to tell. And I loved it, and I'd love to do something else someday, probably more narrative-based. But I'm in no rush.
I've always felt I had more in common with the modernist approach than with postmodernism, but I can see where the connection might arise - and to be honest, I'm no academic, so I tend to use these words, like in Alice In Wonderland, to mean what I want them to mean rather than what they actually do mean.
I really wanted to do some serious work. I really wanted to be a part of dramatic films. I wanted to show this talent, whatever that means, that I could be a dramatic actress as well. But the truth is, a) I don't know if I can, and b) I love doing comedy, and I felt almost a little embarrassed that I succumbed to the pressure. Vanity is really what it is. I feel really grateful that I am in comedy, and I love doing it.
I don't think sexuality defines a person. It's one small part of who you are, in my view. You are many things, and I never felt that people were defined by their sexuality solely.
I like collaborating, but I felt I should do my first single by myself so people don't think I'm leaning on other artists to be a success.
I was never not in a show from ages 11 until 18. It was a great creative atmosphere but also a professional kind of atmosphere. When I finally went into the professional world, I felt ready. I was prepared for work.
I've always felt that I've made films, period. I wanted to leave the "ghetto." And here I am, I'm out.
I've always felt that dark lyrics with dark music is pretty useless. Maybe that's a strong statement - not useless, but for me, it's just boring.
There have been screenwriters who I'm sure would gladly kill me, because I've been very fast and loose with their work, because I felt like it wasn't up to my high standards. I would push and pull it on set, and make changes all the time. But then when you're working with an original screenplay, my theater instincts kick in, and I suddenly become very keeper-of-the-words.
I've always felt that actors in my experience have a very good and accurate instinct about whether something feels right or not. They just have a sense because they have to literally do it.
On the flip side, no one has any idea who the hell I am. I felt like I had to prove myself to them. On any new project I'm working on, the first week is nerve-wracking, but especially with these people that I admire so much and who I just want to be equal with.
I'm a shy, nervous person, and I don't like teaching with "terms." I didn't teach them, like, "This is first person, this is second person, this is foreshadowing," or whatever, so no one probably felt like they were learning anything. But I feel like teaching in that way reduces the concept to a term.
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