Women From The United States

"When adults jump to fear and isolationism as their solution to managing risk, they often undermine their credibility and erode teens’ trust in the information that adults offer."

"the introduction of social media does alter the landscape. It enables youth to create a cool space without physically transporting themselves anywhere. And because of a variety of social and cultural factors, social media has become an important public space where teens can gather and socialize broadly with peers in an informal way. Teens are looking for a place of their own to make sense of the world beyond their bedrooms"

"It’s easy to think of privacy and publicity as opposing concepts, and a lot of technology is built on the assumption that you have to choose to be private or public. Yet in practice, both privacy and publicity are blurred. Rather than eschewing privacy when they encounter public spaces, many teens are looking for new ways to achieve privacy within networked publics. As such, when teens develop innovative strategies to achieve privacy, they often reclaim power by doing so. Privacy doesn’t just depend on agency; being able to achieve privacy is an expression of agency"

"It was just natural. It wasn't even a discussion. He was attracted to telling stories from a female POV, I think because of me and his daughter, he was very interested in stories about strong powerful women getting through difficult situations."

"My 15-year career in finance gave me unique skills: looking at cash flow, balance sheet, inventory, and understanding as an operator. I would argue that cash flow is the most critical thing for staying in business and for all entrepreneurs. Having invested 15 years as a CEO and in companies, I have this unique perspective. I probably understand financials better because of my background. We are much more careful with money because I personally sign every single check for everything we do. We have to be scrappy as I don't have the company pocketbook like some of these conglomerates that can waste money on things and see how it works. We have to be incredibly thoughtful and extremely methodical about everything we do. We don't have any benefit when we make mistakes."

"I Chinasa T. Okolo is the Founder of Technēculturǎ and a former Fellow at Brookings. She recently graduated with a Ph.D. from the Department of Computer Science at Cornell University, where her research leveraged ethnographic methods to understand how frontline healthcare workers in rural India perceive and value AI and analyzed how AI explainability can meet the needs of novice technology users in the Global Majority. Her work has been published at top-tier venues in HCI and sociotechnical computing, including the Association for Computing Machinery’s (ACM) CHI, CSCW, COMPASS, EAAMO, and FAccT conferences. Dr. Okolo has also been recognized as one of the world’s most influential people in AI by TIME Magazine, honored in the inaugural Forbes 30 Under 30 AI list, named one of the Most Influential Africans of 2024 by New African Magazine, a Trailblazer in Engineering, and one of 100 Brilliant Women in AI Ethics™."

"I was working in Hollywood with the goal of being a producer. A friend of mine was producing a movie called Deadly Friend, and told me that Wes Craven was directing and needed an assistant. He asked if I would be interested in the job. I said, of course, I would love to come in and meet Wes. So, we set the appointment, and I went to Warner Brothers to meet him. He was very funny, and we clicked. The wonderful thing was that having said that I wanted to be a producer, Wes took it upon himself to include me in every aspect of filmmaking. He took me into casting sessions, to the horror of Marion Dougherty, the casting director, who was a huge casting director at the time. Assistants didn't normally get to be in the room for casting sessions. I was included at the scoring sessions, locations scouts, and he mentored me through the whole movie. We did Deadly Friend and then went on to The Serpent and the Rainbow. While filming on location in Haiti, we had so many emergencies and horrible production problems, and we got through them well together, and I think Wes just felt I had the right stuff. Then he gave me my first producing gig on Shocker."

"I initially transitioned into AI because I saw how computational techniques could advance biomedical research and democratise access to healthcare for marginalised communities. During my last year of undergrad (at Pomona College), I began research with a human-computer interaction professor, which exposed me to the challenges of bias within AI.”"

"I’m optimistic that AI could help fuel socioeconomic development that has been much needed in Africa for the last half-century, But I’m also concerned that this competition could limit the autonomy of African countries and perpetuate neo-colonial practices that have negatively impacted their economies.”"

"However, enabling people with the knowledge to understand the limitations of AI may help improve the responsible adoption and usage of these tools. Improving AI and data literacy within the general public will become fundamental as AI tools rapidly become integrated into society.”"

"Receiving this recognition a year after earning my PhD and a year into my professional career is considerable motivation for me to continue my research and advocacy.”"

"A significant number of AI tools and systems that have been put into public deployment overstate their capabilities and simply don’t work. Many tasks people aim to use AI for could likely be solved through simpler algorithms or basic automation."

"Absolutely, I mean, don't forget we had just done New Nightmare, and that was very much about Heather Langenkamp's personal journey, and it very much mirrored her personal life. She obviously was, and is, a very strong woman, and with Kevin's script, it was everything we wanted. We loved the story of Sidney, and it had every element that we were attracted to in general."

"We were working with KNB Effects Group on the mask design in LA before we flew up to Santa Rosa to prep and shoot. As the script described the killer as only wearing a ‘ghost mask' with no description of the mask or costume, we had to come up with it. KNB had a lot of design sketches and sculptures, but we had not found the look, and it was getting late. We were scouting a house for Tatum, and I went up to this little bedroom upstairs, and I saw the mask. It was the mask, but it had a white shroud. I took it, and I ran downstairs and showed it to, I think, Bruce Miller, the production designer, Wes, and probably Nick Mastandrea, our first AD. I said ‘oh my god, you guys, look at this mask! How about this?', and they said, no, we don't like it. We don't like this mask – We want to create our own mask'. Wes was very much into owning it and creating whatever we were going to use, so I just felt like, ‘seriously, you don't like this?' ‘You're not even going to consider it?' And he said, ‘no, no, no, not at all.' I don't like it.' So, I begrudgingly put it back in the bedroom."

"Yes, he did, and originally the larger windows didn't have the stained glass, but he found a few doors in the house that had small panes of stained glass above them, I think, and decided to bring and expand that element to add more character to the interior and exterior scenes of the house."

"A couple of weeks went by, and we still couldn't come up with anything everyone could agree on, and we were getting very close to shooting – it was getting very tense. So I said, ‘why don't we call that lady and see if she's thrown away the mask or still has it and at least see it again?' I thought, who knows, maybe she cleaned the house and threw it away! Bruce Miller sent the location manager over there, and sure enough, he came back with it and I got Wes to take another look at it, and he said, ‘let's go with it,' and we finally made a decision! Of course, we had to call and get the rights from Fun World. It was a mass-produced Halloween mask, and the rights cost some money. Cary Granant negotiated the deal with Fun World, and we got the rights. Even at this point Wes still really wanted to make his own version so he said ‘okay I like it, but I want to change the shape just a bit', so we did and KNB did make their own sculpture of it with a few alterations. We started shooting the opening sequence with it and realized very quickly that the original mask was perfect so then we went back to the original mask."

"Wes was very prepared. He always came up with a shot list and was very meticulous. Wes, in his own life, loved to write manuals for everything in his house. So he was very mechanical in this way, and he made really great shot lists. I mean, when you're working fifty, sixty days straight, you don't always have time, and of course, if the director comes in without a shot list, the AD, the cinematographer, the line producer, and everybody else freaks out. But he usually came prepared with his shot list, and of course, we'd look at it and freak out if it was more than about twenty-three shots. It could, at times, be a little too ambitious."

"Yes, he was very much involved, and in fact, we had actually been developing The Haunting with Richard and Bob Weinstein, and I don't really know what happened with that… I think Wes finally just passed on it and said to Richard, ‘look, I really want to work with you, but I don't think The Haunting is the one.' So, of course, Richard then kept Wes in mind, and when Scream came along, we all still wanted to work together, and eventually, Wes accepted the job. But, yes, Richard was a huge part of it creatively and really pushed Bob Weinstein to option the script and lit his hair on fire to get everyone to read it very quickly at Dimension. Sometimes you have a studio executive that you don't want anything to do with and don't want to have them on set, but we loved Richard, and he was so helpful and respectful to Wes and had such good ideas. We were lucky to have him with us."

"As far as directing actors, he was very respectful, quiet, and never impatient. Actors really responded to Wes. He really was an actor's director. I remember when he was directing Drew in the opening sequence, they had spent a lot of time in prep, and Wes knew how much Drew loved animals, as she's an advocate for animal safety. He said something really graphic and terrifying to her about, I'm sure you've heard this, an article about a puppy who was mistreated because he had seen what an emotional response this caused her, just talking about it, and that was one part of how he got the performance out of Drew. I remember that night, shooting the exteriors of that home, and I remember the night he did that. I didn't know at the time what he had said until an hour later. It really worked! Obviously, we know that scene is so heart-wrenching, so he knew what to say. He really got to know the actors and figured out how to get the right performances. It can be a manipulative job, being a director, and he would figure it out."

"My key to success is endurance. My day is like a marathon. I spend tons of time going from restaurants to meetings with the beverage directors, customers or distributors. I think we have had success because we have spent tons of time with excellent partners in the market, building relationships one by one. It really sells the product in each venue. It is not the most scalable business because it's essential that you have a personal connection with each person and that they buy into the story, that they understand and want to get behind you. After all, without the people who matter in each venue, a brand can't succeed."

"We’re going to focus on the children we believe can be diverted from the system, either through a referral from law enforcement at the point of contact in the community, a referral from a school resource officer, a self-referral from a family member or a community organization that works with children who recognize some of the signs of at-risk behavior in that child,"

"We now understand more clearly that these are not just “bad kids.” Most enter the system for reasons other than the delinquent act with which they are charged."

"We need to get to a place where we can say, “It’s ok when you’re not ok.""

"We’ve got to be aware, we’ve got to educate ourselves, and we’ve got to let go of the stigma and the shame that adults feel about mental health that we then impose on our young adults so that they begin to feel bad about any challenge to their psychological well-being."

"Our basic job is to protect the hope of others,” she says. “We have to be hopeful they will get better or they won’t be."

"As I’ve grown in my career, I’ve begun to understand just how blessed I was to be afforded the opportunity to attend college and pursue my dreams."

"As I was fortunate, it is my responsibility to reach back and help others, especially those most under-resourced."

"You know, everyone has different reasons for why they believe in something, so I try to be relatively tolerant. But in terms of going down the rabbit hole of social media on that topic, I kind of let my comms team manage that. I really try not to engage with those folks."

"It really has been only recently that I've seen the judiciary recognize that and want to take a leadership role in that area. That's absolutely something that I think is a critical part of what a supreme court does and should be doing — in terms of talking about [this problem] and acknowledging that it exists, but also being a problem solver."

"Every single family in my years of tribal court work had a story to tell about that."

"I've had people say, ‘You don't look like a judge,’ and they've said that in lots of different ways. [But] I do look like a Supreme Court justice, because I am one."

"“On both sides of my family, governments, other entities, really sought to wipe us out … My father really instilled in me the importance of recognizing that I came from people who persisted, people who were lucky enough to survive, and that my existence is dependent upon those people’s persistence and resilience.”"

"If Gov. [Jay] Inslee or the public doesn't embrace that, that's OK, but I can't pretend to be someone other than who I am."

"All children deserve stability and most agree that a child in foster care lacks stability."

"I know what that intergenerational trauma looks like and what the consequences are. If I have the ability in this position to give a voice to that story, I'm going to take it."

"No one wants to see a child stay in foster care one minute longer than is absolutely necessary to ensure her safety."

"“I believe my role is to listen carefully, with neutrality and fairness, and to apply the law regardless of my personal, subjective beliefs.”"

"Every day there is something that makes me reflect that this is a historical appointment that is meaningful to other people."

"We have a mission house two miles away, where I work mornings in the capacity of preacher, teacher, and doctor,” she wrote. “I hope to be allowed two years home to study medicine, to better help these suffering people."

"I was truly happy then, and since I have set sail for the benighted country, I am happier,” she wrote. “When I reach the doleful shores, I shall be happiest. What comfort comes to us from doing the perfect will of God concerning us!”"

"I know that and can address those issues in a systematic way, recognizing that these families are complex systems and that the parents come to the court not solely borne out oftheir own difficulties and bad choices, but also out ofthe pattern of abuse and neglect that has been part oftheir family for generations."

"Despite the efforts of many tribal judges and the good intentions of state courts, we find ourselves continually justifYing our existence and our skill sets."

"He drew me unto Himself, and after passing through the shadow of doubts, I entered into the blessed light of His love“"

"The assumption has been, throughout my entire career, that because I am not white that I am not fair or I am not neutral."

"“I was raised to remember that I come from those who survived.”"

"It is, however, enormously difficult to provide court and social services to these children and families when funding is minimal at best or non-existent at worst."

"There is no doubt in my mind and in my experience that the therapeutic approach benefits the individual, and therefore the community, far more."

"Two people within the last month have brought their idols and desired to be known as believers in the God of gods,” she wrote on October 10, 1887. “I shall keep them to show to friends in America as the first trophies of my Congo work.”"

"I don't know that there's ever been a drum group or those sounds in that building. But there are now, and I wanted to make a public statement that we're here — and that I belong there."

"In every forum and nearly every case, children are impacted. They are impacted when their parents cannot parent due to drug and alcohol issues landing them in court, they are impacted when their needs were not met as children and they become involved in the juvenile justice system."