“I like acting for myself as a director. I act and I know that I’ll have a chance to have some say in what gets used and that I’ll be able to give myself enough takes and be on the same page as myself about how the scene should play.”

If we try to define our own moral universe, there’s a price for that.

Anybody tells you that money is the root of all evil doesn’t have any.

But when I felt like I had something to prove? Then I got up early every morning and worked all day long. I didn’t know if I had any more talent than anyone else directing, but I knew I could work hard at it, and so I did.

You wasted $150,000 on an education you could have got for a buck fifty in late charges at the public library.

You get old, you slow down.

You don’t know what the pattern of flour and chicken is going to be, but you know you’re going to get some good fried chicken.

I find forgiveness to be really healthy.

A friend of my mom’s was a casting director so, really as kind of a lark, I had a couple of acting jobs that had just enough exposure to give me the option to continue if I wanted to. I followed through with it.

You have to be kind to people. Treat them decently. There’s no excuse for not.

It’s important for me to try my hand at philanthropy because I want to leave behind a record of someone who did more than just gobble up stuff for themselves. I realized that a life lived for yourself is not much of a life.

All I do, really, is go to work and try to be professional, be on time and be prepared.

Memories, all those little experiences make up the fabric of our lives and on balance, I wouldn’t want to erase any of them, tempting though it may be.

I kinda see my current position like this: Here’s your five minutes in the toy store, so you gotta do all the good movies you can before ‘Chuck Woolery’ rings the bell.

Every single director-actor I talked to, from Warren Beatty to Clint Eastwood to George Clooney, said the biggest mistake they made is not shooting enough footage of themselves.

I feel like fame is wasted on me.

I remember back when I was a kid there was a comic strip called Plastic Man. His body was elastic and he could make his extremities as long as he wanted. As a youngster I didn’t fully appreciate. But I’m now thinking Plastic Man was probably pretty popular with the ladies.

With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film.

Somehow, we [ Tan Dun and director Chen Kaige] were all privileged at the time; we could be outside of China. But at the moment, we had no sense of what the future was going to be like.

You have to be strong to be a carpenter, maybe, but the director of a film doesn’t need to have muscles.

When I started my first film, there were three women directors in France. Their films were OK, but I was different. It’s like when you start to jump and you put the pole very high – you have to jump very high. I thought, I have to use cinema as a language.

When I was creative director [at Estée Lauder], I was always being asked about my beauty must-haves. From there I had this fun idea to create a line of what was in my makeup bag. But I also love accessories, and people associate me with home, family, and beauty.

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.