Growing up, 'Cosmo' was my lifeline to the world. A world that I wanted to be in but couldn't get to yet.

When I was growing up as a child, a magazine, to me, was like a finger beckoning me to the future.

When I was growing up, Sunday lunch was my favorite time as a child. We would have a big Sunday English meal, and we would argue about things.

Every time I've been offered a new job, I've automatically said, 'Oh, I don't think you want me for that job.' It's sort of a weird female - or, at least, it is in me - a weird female defense, when, in fact, what you want to do is scream, 'Hooray, I want to do this!'

I agree with Balzac and 19th-century writers, black and white, who say, 'I write for money.' Yes, I think everybody should be paid handsomely; I insist on it, and I pay people who work for me, or with me, handsomely.

I don't believe in a redistribution of wealth.

I don't want to do films for money and go back. I want to try to at least change the world through cinema, the industry, the way cinema is conceived.

What we know about the global financial crisis is that we don't know very much.