I was brought up in black neighborhoods in South Baltimore. And we really felt like we were very black. We acted black and we spoke black. When I was a kid growing up, where I came from, it was hip to be black. To be white was kind of square.

The first memory I have was my sisters dancing to the radio when they played records by Benny Goodman and Harry James and of the sort. But the record that got me was a record by Derek Sampson, who was a young guy, called 'Boogie Express,' and it was boogie-woogie. Really, it was on fire, and that got me.

The Jewish background is not that far from the black groove. Blacks are downtrodden, Jews are downtrodden, therefore they have something in common in that affliction. Being downtrodden often makes one more empathetic and sympathetic.

I felt black. I was as far as I was concerned. And I wanted to be black for lots of reasons. They were better musicians, they were better athletes, they were not uptight about sex, and they knew how to enjoy life better than most people.

We make the kind of movies we like to watch. I love to laugh. I love to be amazed by how beautiful it is. But I also love to be moved to tears. There's lots of heart in our films.

I'm quite jealous of my Scottish relations, in whose culture everyone, in a Jane Austen kind of way, got married very young, when you're too young to be cynical or jaded and just started having children.

The first book I sat down to write was an historical romance. It was really bad and thankfully no one ever saw it.

Reading 'Ghost Waltz' and 'Nine and a Half Weeks' side by side, Day's vulnerabilities come shimmering into view. Both books examine the consequences of relationships marked by withholding - be it her lover's effortless domineering humiliation or her parents' shutting the door on discussing Herr Seiler's deep-seated Nazi ties.