Femininity in and of itself - and the feminine - can be not only privileged, but honored or worshipped.
I really feel like becoming a director came from other women saying, 'Yeah, you can do this.' I wanted to direct 'Six Feet Under,' and no, they didn't let me.
I think, because of the Internet, we're not looking at the very, very narrow channels for distribution that there used to be.
Whether you're writing television or movies, at some point you're going to encounter a male executive or investor who's going to say, 'I don't like that woman. She's unlikable.' And often, it's literally for being a regular human woman as opposed to an attracting human woman.
It's a struggle every day to get people to invest financially in portrayals of women that aren't satisfying to straight white men.
If you're in a room and can be seen by actors, you need to understand that you can be felt by them.
Most people privilege the technology, almost as if actors are in service to the machine.
On some sets, if a helicopter goes by, what would normally happen is that somebody would go, 'There's a helicopter. Stop.' I'd never stop for a helicopter. I am always trying to make sure that the machine is in service to the actors.
For me, when I'm not working, the day goes by so fast. I never have enough time - getting a manicure, getting a pedicure, getting my workout in, making sure that I ate healthy. Those things can become treacherous to the mind.
Perfection would be something that you see in 'Architectural Digest.'
You must speak the vision of your project in a way that convinces people to pay for it. If they won't pay for it, that is the artist's fault. It is my fault. It is your fault. It is not the executive's fault or the world's.
To me, it wasn't 'Star Wars' that shaped me; it was more 'Mary Tyler Moore' and, nowadays, 'Louie' and 'Girls.'
I think of myself as a producer. As a producer and as a showrunner, I already understand what it meant to gather people into a room and step back, to create the boundaries of 'everything's okay' to allow TV writers to go to their craziest places.
I just feel like content is content; people want to see it resonate.
Getting into Sundance is a certain sort of passport to a level of anxiety I've never experienced, even having had a baby in the NICU for a week. For about ten minutes, you're a world-class director. Then you become an entry-level, harried, low level concierge with absolutely no juice.
The first time that I saw people actually make the thing that I wrote was my first episode of 'Six Feet Under.' It was called 'Back To The Garden.'
I am beyond excited to share 'Transparent' with the world through Amazon. They've been so supportive through this incredible process.
The more horrible the truth that you admit, the better you connect. You have to tell the truth.
I was the kind of Jew who'd be in a bar, somebody would say it's Yom Kippur, and I'd go, 'Really?'
I noticed that people were craving a way of reinterpreting tradition and of being Jewish without joining a synagogue.
