Quote

Lesson one, introduce yourself to everyone when you walk into a room. Don't act like you're too bougie to say, 'Hello.'

I always start a book thinking that it can be something other than first-person present, and I always come back to first-person present. It's just the easiest way.

I approach things from my feeling first. I have to get a feel for the character. I'll do that through music; I'll do it through what is naturally popping up for me when I read the script. My ideas or whatever the occupation of the character might be.

It's hard to get lost in a scene, to get into a character when everyone's standing around you on the set.

Usually when I go to a place for the first time, unless there's something historical or spectacular that nature has to offer, the first thing I like to do is see what's on the minds of the people.

I go through a whole process with the actors first, building and creating characters, then I encourage them to sort of live in that character when they're in the screen.

I always say that you don't have to like 'The Room', but you will discover something - maybe a tiny little thing - and say, 'Wait a minute, maybe I want to see more.'

I feel like, if there's an elephant in the room, I'd really like to start off by introducing the elephant in the room. And sometimes it's funny.

While you are improvising, you need to be prepared, and I like to have a sense of who the character is, what she likes to read, where she grew up, where we went to school, and what she has for breakfast, so that when I go to set, I'm free to explore.