I think when you're a bigger star you get many good scripts sent to you, and you have to choose which one you're going to gravitate toward, but I just try to gravitate toward the best-written one that's been thrown my way after a lot of girls have passed on it.

I think it took me a long time to realize that you can't really score unless someone passes you the ball. The older you get as a woman, it's fewer and far between. The material isn't there.

If you're not willing to sound stupid you don't deserve to be in love.

I don't clean, I don't make the bed. I spend my salary. I worry a lot. I just don't worry about socks on the floor.

Nancy has her vision and she's a formidable force to be reckoned with, and that's similar to most of the male directors I've worked with. The only difference is probably inbetween scenes, gossiping with Diane Keaton, Frances McDormand and Nancy Meyers about who's had Botox and who hasn't.

I'm still trying to write. I wrote a play a few years ago, so I'm trying to start writing again. The play was called The Commons Of Pensacola. It was at MTC [Manhattan Theatre Club] with Sarah Jessica Parker and Blythe Danner. It was kind of like a riff on Ruth Madoff.

I have a feeling there is no ideal situation, unless she could go back in time and be 22 again. I think some of it is just kind of the shock of realizing that you're approaching middle age, or that you are middle-aged and kind of coming to terms with that in whatever incremental ways.