Once our storyline gets under way, I just hope people don't throw cabbages at me in the market.

When you expect good, it's available constantly, and it makes itself a reality in your life.

A good writer - and I think it's this way with actors too - even if you have two lines, you have to do the same complete work as if you're number one on the call sheet. If you get in an elevator and somebody gets on, rides two floors and gets off, that person has a reality that goes back to when they were born. They have memories, they have people, they have a life. They are doing something right now that the camera is on them in their space. We live in our own close-up all the time.

Everybody has a part of her body that she doesn't like, but I've stopped complaining about mine because I don't want to critique nature's handiwork ... My job is simply to allow the light to shine out of the masterpiece.

The ones I love most are the people who the flaws show. I like doing characters that we see the total person. If people get afraid to show the flaws because they think, "Oh, then nobody will like them," then you end up with a lot of products, and everybody wants to be frigging heroic all the time - not what people are trapped in every day, like your skirt being in your panties after you walk out of the bathroom. Being human. Sometimes when people are drawn to your work, they're drawn because they recognize themselves or their loved ones or their neighbor in it.

I am not getting any younger and am taking a new approach to life.

People live a lot freer in their body and their voices and their moves than people act onscreen.