I think American drama is at its best when it takes the domestic and makes it epic, like a Greek tragedy in the front room.

I admire people who overcome obstacles or who have to commit - I've always really admired commitment, whether it be a commitment to living or a commitment to love. People who commit to a moment. People who are not somewhere else, but in the room with you.

I was quite shy. I used to write stories all the time, and I think that was a worry for my parents.

I'm a right pain in the hole for my agent. I won't take certain parts if I think they're offensive or banal. For instance, I won't do a film if I think it's full of violence for violence's sake, or a television drama if I don't think it's intelligent writing.

I am very lucky. I have known wonderful romantic love in my life but to actually see this little creature and find him to be the most beautiful creature in the world. I know all mothers and fathers feel that way.

As I get older, I want to draw on my experience to make roles better. I see that in the older women who inspire me - their experience makes them better.

I sometimes think it's like a weird elastic band. The more tragic your work is, the quicker you snap back. There's a catharsis in telling a miserable old tale; you get rid of demons.