“I do think that’s so much a part of what being a director is – in working with actors – to really try and be sensitive to what each actor needs to get to where he wants to be.”

You know he comes out of stand-up. He comes – it’s all about capturing the moment – in the moment, you know.

In Hollywood through the 50s, there were black, English, and Middle European housekeepers and maids.

Kinsey was six foot five, and he had this leader of men quality.

We’re still pushing it, you know. It is weird. Suddenly you wake up and it’s like, ‘God, five years have gone by.

Kinsey thought that Freud in his own way was as dangerous as the Catholic Church.

Our relationships, relationships between adults, how all those pieces fit together – that’s the most complicated thing we all face.

So I never thought of anything as making fun of it, but kind of reveling in the melodrama of it. It’s a melodrama.

It’s in the nature of television to restrain the spontaneity of a live event. Things become more and more prepackaged.

Kinsey would identify himself with Galileo in moments of feelings of persecution.

But the imposition of morality onto science, – where it does not belong – has become rampant in recent years.

But you really – I always think that a director has got to adapt to whatever the needs of the actor are. You know, so if you take someone like Eddie Murphy, who is not a big fan of rehearsal.

There’s no question that Whale’s movies are classics. They were wonderful, and successful.

That day I think we really saw each other for the first time. I mean, saw beyond the bag of bones on the outside. You take away her pretty and my plain and what you get underneath is about the same: a couple of lost girls looking to be found.

I had a couple of movies that I was passionately involved with that I could never get made. ‘Richard Pryor,’ I wrote for – gosh – over a year. That was close to getting made for two-and-a-half years after that.

My idea of a beach holiday is going to New York for two weeks, just going and hanging out.

For me, someone like the Eddie Murphy character doesn’t live anywhere; he lives on a stage and when he’s not on the stage he’s on a bus getting to the next stage.

When I took the job as Estée Lauder’s creative director, the first thing I did was go into the archives! I love taking our heritage and making it modern.

As a girl, my favorite toy was my dollhouse; if I could still play with it now, I would! I used to love a well-arranged room: the furniture, the fabric, the lighting.

Not being a commodity enough to be hired by the big directors for projects that have some kind of integrity.

And then, there are the producers and the writers and the director on the other side of the glass, and what they want.

Nine times out of ten, I’m trying to meet someone else’s expectations, whether it’s the director or the writer or the animator

You have to make that judgement yourself, and that’s partly where the casting director is so good. It was that blend that we were looking for.

And we’re always talking to the directors about that. It’s a big challenge to find people that can do it.

You really have to bring your game and know what you want to do.