I had no interest in filming. I sometimes went to the studios with my dad, but it was slow-going; it was boring to watch. I always ended up in the rehearsal hall watching the dancing. That's what I liked to do.
I was born in Paris, and my mother was a French teacher, but then I rebelled against my upbringing and studied Spanish in school. So now I just speak bad French and bad Spanish.
I got into the Shanghai Drama Institute because my parents, like all parents, want their children to have good grades and to go to a good college. I became a college student because of them.
After reading Graham Greene and Joseph Conrad when I was a student at Yale, I wanted to live in the world they captured in their books. I had had some experience living in Africa. I was drawn to that kind of adventure.
The arts community is generally dominated by liberals because if you are concerned mainly with painting or sculpture, you don't have time to study how the world works. And if you have no understanding of economics, strategy, history and politics, then naturally you would be a liberal.
I think the big studios shaped and formed the artists that they put under contract.
We're interested in hearing about supply chain and logistics ideas and problems from central Indiana manufacturers. We have resources to offer them in terms of the expertise of our professors and good students for internships and employment.
We're interested in doing something that expresses what the students on campus have to say. Those of us involved right now, we're not interested in doing a watered-down publication that is not a voice of the students.
We're in schools at least three or four times a week trying to teach students and parents about the dangers on the Internet. We try to impress upon them that the odds are in their favor. They most likely won't be a victim, but if they are, there can be severe consequences.
We're in a period of great experimentation. The studios are pretty committed to traditional theatrical distribution, but it's been changing.