I think my mother became the muse because she had everything when she was in Hollywood: she had the marriage, the success, the money, all the films she wanted to do and yet even her, she had a longing and wanted to work with a film that had meaning, something more profound. And I think that was very touching to father.

When I took my clothes off in Blue Velvet, I wanted to convey the brutality of sex abuse. I wanted to look like a quartered cow hanging in a butcher shop as well as disturbingly appealing.

In interviews, the first question I get in America is always: 'What do you do to stay young?' I do nothing. I don't think aging is a problem ... I'm so surprised that the emphasis on aging here is on physical decay, when aging brings such incredible freedom. Now what I want most is laughs. I don't want to hurt anybody by laughing -- there is no meanness to it. I just want to laugh.

I am the daughter of Mr. Neo-realism: I should gravitate towards narrative simply told, character, the truth. And I do love those movies.

I always loved experimenting in film.

If we are completely honest with ourselves, everyone has a dark side to their personalities.

David Lynch came out of it a genius, and I came out of it a fat girl. I'm sorry that the only comment I get about the part is the way I look. Commenting on the critics' response to her performance in Blue Velvet