It's not good to be in a situation where people don't want to direct you or don't want to question something.

I think everybody wants to connect. There is nothing worse than feeling disconnected. And stories that really move people and make people care are the ones where they feel some sort of connection.

I think the diva is kind of a cliche. My definition of a diva is somebody whose talent does not match what they're trying to play, so all this temperament comes out.

So you have the challenge of just learning the lines, period, and not only learning them, but learning them to the extent that you assimilate them, so that you're not worried about what the next word is coming out of your mouth when it comes to doing a scene. And you're also in the trenches with the writers, just in the wonderful kind of back and forth of how is it best to say something, even if it involves four or five words. I love that kind of thing.

I knew the term Stepford Wife, and I knew what that meant. I never read the book, and I think before I started filming I watched the movie. I thought it was very dated.

We were fortunate enough to have several good books detailing the camps and the women. Some were by the survivors. I also got to talk to some of the women who had been in the camp, survivors.

The best thing I have is the knife from Fatal Attraction. I hung it in my kitchen. It's my way of saying, Don't mess with me.