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It's one of the most liberating things I experience in writing - letting yourself get rid of a gesture or character or plot point that always nagged, even if you couldn't admit to yourself that it did.

I do think grand gestures are a hit and miss, especially for girls.

We were in Philadelphia when Manager Pat shifted me from third to short, and right off the bat, I knew I had found my dish. Footwork was more a part of the new position than it had been at third. I suddenly felt I had sprouted wings. A world of new possibilities opened for me.

I don't make big grand gestures, generally.

I can mention many moments that were unforgettable and revelatory. But the most single revelatory three minutes was the first time I put on scuba gear and dived on a coral reef. It's just the unbelievable fact that you can move in three dimensions.

Stillness as a technique is still really captivating to me.

Last good pratfall I did, I broke bones in both hands. I still feel it when people shake my hand.

I really love to make sweeping historical gestures that are like little illustrations of novels.

I was this kid, and I was scared to death of all these pros around me... My head would shake, and my hands would shake, and I discovered if I kept my head down and looked up, my head would not shake, so I started to do that when I could, when it was appropriate in a scene.

What stop-motion does best is present real objects magically brought to life in a very imperfect situation; the hand of the artist is there, the electricity of someone touching, massaging and torturing themselves to get life out of an inanimate object.