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“I have enjoyed teaching most of the times that I have done it. I also like being by myself and making things and performing, so much that if I hadn't needed an income I probably wouldn't have done much teaching. Having said that, I think working with others, having to come up with art projects, and learning how to present your ideas in a clear way, to adults and/or kids is always interesting and rewarding.”

“I dont think any actor has the luxury of knowing exactly what scripts are going to turn out well and what ones arent. It would be wonderful to have that particular skill, and maybe people like Tom Cruise have it more than most, but you go into each project hoping that a good, if not great, film will come out the other end.”

“Above all, think of life as a prototype. We can conduct experiments, make discoveries, and change our perspectives. We can look for opportunities to turn processes into projects that have tangible outcomes. We can learn how to take joy in the things we create whether they take the form of a fleeting experience or an heirloom that will last for generations.”

“It used to be said, not so long ago, that every suicide gave Satan special pleasure. I don't think that's true-unless it isn't true either that the Devil is a gentleman. If the Devil has no class at all, then okay, I agree: He gets a bang out of suicide. Because suicide is a mess. As a subject for study, suicide is perhaps uniquely incoherent. And the act itself is without shape and without form. The human project implodes, contorts inward-shameful, infantile, writhing, gesturing. It's a mess in there.”

“One of the things that is most striking about the young generation is that they never talk about their own futures, there are no futures for this generation, not any of them and so naturally they never think of them. It is very striking, they do not live in the present they just live, as well as they can, and they do not plan. It is extraordinary that whole populations have no projects for a future, none at all.”

“The silliness-much of which is clearly intentional-is blended with some genuine grandeur. The Pixar touch is evident in the precision of the visual detail and in the wit and energy of Michael Giacchino's score, but the quality control that has been exercised over this project also has a curiously undermining effect. The movie eagerly sells itself as semitrashy, almost-campy fun, but it is so lavish and fussy that you can't help thinking that it wants to be taken seriously, and therefore you laugh at, rather than with, its mock sublimity.”

“I love making films, and as long as I love the subject, I just have a crazy amount of passion and energy for the project. The project that influenced me the most is this cooking show I do online. I film it all myself, and I think making so many of those gave me the confidence that all I need is a camera, and I could go and do an interview. The freedom to be a filmmaker - you just need a camera.”

“Frankly speaking, I hate comparisons. Two individuals are doing two different films, playing two different characters: how can you compare them? It is not fair to get into ratings. It really doesn't matter what I think about other actresses; what matters is what the directors think of them when they are casting them in a project, because I think it's the director who's behind a successful piece of cinema.”

“Even after I had just done Twilight, which made $400 million at the worldwide box office, I could not get financing for three or four projects that I really loved and I thought people would love because they didn't fit some studio or investor's model of thinking, "This will definitely make money." It's a business and a film does potentially cost millions of dollars, and they have to think that they're going to get their money back somehow.”

“People think you have this exciting and romantic life, because you project this exciting, romantic life on screen. But in reality you're just doing the same thing as everyone else - you know, sitting around watching TV with your gut hanging out, playing with your kid, or even sitting on the toilet. You know what's weird? Even I'm not that interested in my personal life any more.”

“I don't think I've ever tried to be something that I'm not. People do that for you. People try to pigeonhole you. People tried typecasting me, before they even saw me in anything else. I've never understood that. I was like, "Why don't you wait until my next project, before you start telling my what my career is going to look like, for the next 10 years?" I've never let it set me back because I always knew the world would try to do that for me, anyway.”

“Those of us who think about what we eat, how it's grown, those of us who care about the environmental impact of food - we've been educated by fabulous books, like Fast Food Nation and documentaries like Food Inc. But despite these and other great projects that shine a critical light on the topic, every year the food industry spends literally tens of millions of dollars to shape the public conversation about our food system.”

“Because my graduate academic training at law school was not one that included most of the intellectual traditions I find useful for understanding the conditions and problems that most concern me - anti-colonial theories, Foucault, critical disability studies, prison studies and the like are rarely seen in standard US Law School curricula, where students are still fighting on many campuses to get a single class on race or poverty offered - I developed most of my thinking about these topics through activist reading groups and collaborative writing projects with other activist scholars.”

“I think as consumers Europeans are a lot more artist loyal irrespective of the genre of music or the type of project or the collaborative effort, and Americans are more media-loyal, because they need to be fed that media to know what's going on, because we're so inundated with promotion and marketing and everything that's going on - advertising.”

“I think that the project of being alive is to be alive. So there will always be twists and turns and steps forward and steps back, but that's just your life. There is no sort of place at which to arrive, and I think that the more one focuses on an end point, the harder it is to get there. It's like the horizon, sort of ever receding, ever receding, ever receding.”