It was something of a personal challenge for me to come up with a business suitable for the Internet world and the Internet age.
If I go back to when Borat and Ali G. were doing it, they were more just TV, cinema, TV, cinema. Whereas I live in more of the Internet age where people like to feel like they can still touch you, and so it's important for me not to almost box myself off.
I remembered some people who lived across the street from our home as we were being taken away. When I was a teenager, I had many after-dinner conversations with my father about our internment. He told me that after we were taken away, they came to our house and took everything. We were literally stripped clean.
To see the Republican Party break up the way it has to lose its moral compass it is tragic, it's tragic for me personally, but I won't be part of it. I won't share a party label with people who think it's all right to put babies in internment camps.
I studied about the internment of Japanese Americans during the Second World War and about how the Constitution was written by men, many of whom were slave owners. So I suppose the travel ban strikes me as coming from an era I thought we'd left behind, but I guess we haven't entirely left it behind.
We are all born with an innate understanding of interpersonal equity - the idea that if you lend me your rake today, I'll respond in kind when you come to borrow my shovel tomorrow. Or nearly all of us are born with that. Psychopaths aren't.
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
Hearing other peoples' interpretations of your lyrics, to me, is just a total kick in the pants. Half the time, they're better.
I love the movies, and when I go to see a movie that's been made from one of my books, I know that it isn't going to be exactly like my novel because a lot of other people have interpreted it. But I also know it has an idea that I'll like because that idea occurred to me, and I spent a year, or a year and a half of my life working on it.
I like to play around with people who don't know me. Often I'm talking to people through my speaker phone, and after 10 minutes or so they say, 'Wait a minute, Marlee, how can you hear me?' They forget I have an interpreter there who is signing to me as they talk. So I say, 'You know what? I can hear on Wednesdays.'
I didn't think I had a voice at all, and I still think of myself as an interpreter of songs more than a singer. I thought it was too deep; people thought I was a man. I had a very strong Jamaican accent, too; the accent really messed me up for auditions.
I trained myself by doing other people's songs in clubs way back when. And so I have no pride about doing covers. I love it. And being a song interpreter, to me, is just as important as, you know, putting your own thing out there. It's all about the soul - where the soul comes from.
The movements which I make I cannot possibly repress because, at the time, I am actually the idea I am interpreting, and naturally I picture my players and auditors as in accord with me. I know, of course, that my mannerisms have been widely discussed.
Who is Mike Judge? Let me think. The only way I could possibly answer that question would be in a nonverbal fashion. I think I could do an interpretive dance that would answer that question for you.
And now, excuse me while I interrupt myself.
I was brought up in a house full of women; the first time I realised no one was interrupting me was when I was on stage - that's probably the subconscious reason I became an actor.
If I know somebody is coming 'round, it is incredibly difficult for me to work because I'm waiting for this interruption - even the children's comings and goings are interruptions. Cake-making is a good way of coming out of that space.
Unfortunately I don't live by a Target now, so I just go to a regular Starbucks as opposed to a Starbucks nested inside a Target, which is my ideal situation. That works out for me. I like that white noise, those interruptions, and the people around me.
You'll see in 'Carol' a lot of shots shot through windows, glass and awnings, with interruptions between where we are and where our object is. To me, I hope that that conjures the whole act of looking as a predicament, as something that is never easy and never completely attainable.
It's not about putting a speaker in a chair or putting a TV in a bed. That's not how technology and the home intersect. For me, it's about sensors, about the home knowing where you are.
