I was very much raised by my grandmother, who actually was Bette Davis - looked like her, acted like her, talked like her. Probably, it was just out of my love and affection for my grandmother that I was interested in Bette.

At the end of the day, a divorce is a divorce, and a break-up is a break-up. They are essentially small matters of the heart. They are human stories.

I wanted to create a culture that allowed my children to see the world differently, if only from a strictly visual perspective: to have a child see a room where half of the people are women and minorities is so powerful. I think everyone wants for their children a world that's better than the one they came up in.

All the things I have done at one point or another have fallen out of fashion, and there's nothing better than trying to bring something back to life.

All the big successes of my career have been ideas that, on paper, you think, 'Well nobody's going to go for this because that genre is so dead.'

I formed this thing called the Half Foundation, and what I tried to do is quantify hiring practices in Hollywood. Half the population is women, so half of the storytellers should be women. Fifty percent of all the directors in my company are women, and it will forever be that way.

You've not felt the pain of rejection until a television show based on your own life is canceled.

I feel like I grew up in such a big way in the past couple of years, in a way that I never thought I would. You can't be the enfant terrible when you have the enfant at home.

I would much rather have watched Jill Clayburgh in 'An Unmarried Woman' than 'Star Wars.' Even though I saw that movie when I was 11, I related emotionally to being left and thrown in a trash can on the side of the road. Her damage - I got it. I didn't understand Han Solo at all.

I loved musicals, and I loved Barbra Streisand, and I loved Louis Malle. My tastes were very bizarre, but the thing they all had in common is that they took me out of my life and made me feel something.