"I've also grown as an actor as I've got older in life. I've learnt how to go to work, immerse myself 100 per cent in the character and, at the end of the day, take it all off and go back, get a nice bubble bath, have a nice massage and realise that is not my life. And that feels good."

"I used to believe that if my career was going great, then I was not entitled to a great personal life. Well, I've stopped thinking that way. I believe I can have it all."

"I don't buy into that pressure to be glamorous all the time. It's impossible, I mean, you get a pimple in the morning, you wake up with bags under your eyes, you see if you can use it in your work, maybe incorporate it into your character."

"Being a black woman, I've often felt I've been judged by my sex and my race, and I have always known that it shouldn't hamper me."

"You know, she often tells me that what I do is great. I don't think she ever thought I would end up doing this with my life. But I think she is happier that I haven't changed over the years, that I am still me, that I care about her and that we are the same as we always were. And I think that is what makes her most proud."

"I get offered varied parts, often super sexy roles. But I still think it's an issue to find the good scripts. It's a myth that you win an Oscar and you get more opportunities, and this doesn't just go for me."

"The fact is that I like thrillers and action movies. But what really fulfills me is getting out of my comfort zone, taking chances."

"When a young woman tells me that she wants to become and actor, I say, 'No, be a writer. Or go to business school and learn how to run a studio.' The only real change will come from behind the scenes."

"When you grow up in that (multi-ethnic) environment, you see the world differently. Being a mixed-race child, I didn't always see colour in people, I really didn't. It was other people that made me see the colour all the time."

"(What kind of reader were you as a child? Which childhood books and authors stick with you most?)…then, of course, Bill Watterson’s “Calvin and Hobbes,” whose run almost exactly matched my childhood. I firmly believe there’s a relevant “Calvin and Hobbes” strip for every moment, and I’m irrationally proud that I can usually think of one offhand."

"Ah, the life of a newspaper cartoonist -- how I miss the groupies, drugs and trashed hotel rooms!"

"The only part I understand is what went into the creation of the strip. What readers take away from it is up to them. Once the strip is published, readers bring their own experiences to it, and the work takes on a life of its own. Everyone responds differently to different parts. I just tried to write honestly, and I tried to make this little world fun to look at, so people would take the time to read it. That was the full extent of my concern. You mix a bunch of ingredients, and once in a great while, chemistry happens. I can't explain why the strip caught on the way it did, and I don't think I could ever duplicate it. A lot of things have to go right all at once."

"It's always better to leave the party early. If I had rolled along with the strip's popularity and repeated myself for another five, 10 or 20 years, the people now "grieving" for "Calvin and Hobbes" would be wishing me dead and cursing newspapers for running tedious, ancient strips like mine instead of acquiring fresher, livelier talent. And I'd be agreeing with them."