In some ways, you're always redefining your craft and figuring it out, but in some ways, I almost feel I'm going back to what I was doing 20 years ago.

I feel like I turned down a lot of things that I wish I hadn't. But you never know when you're younger. I don't have regrets about certain things I turned down. Those films would have required things of me that would have been challenging, and they ended up being really good movies. But I was never a careerist, I never thought in those terms. I'd be like, "Oh, I'm tired. I don't want to work."

I think Robert Altman could see things in me that I didn't know I possessed, which is really exciting. He also instilled a tremendous amount of confidence, because he would say things like, "These are the bare bones, but I want you to go fill it out. You find the character. You bring it to me. You write whatever you want." And if you had an idea, he wouldn't want to hear about it. He's want you to show it to him.

Sometimes the work can get in the way and you give a less-good performance, and sometimes it doesn't and you can really get to the heart of something. And all the other stuff is just interesting and adds another layer to your performance. It helps you find the reality. Because you're not just playing yourself, you know? That would be kind of boring.

I'd love to have children, and I think marriage is great, I really do.

I just don't want to talk about my personal life. I feel like it's mine, I'm not trying to promote it. It's nice to have things that are your own, that you value enough that you don't have to use to sell a movie.

I'm not necessarily less gratified by films where you're given less room to maneuve. Because I love a great script, and I love to respect it, and I love to try to give a director what he needs and wants, especially having directed now. [Laughs.] I'm much more open to try to give him what he wants and figure it out. I like working with directors I respect and admire, obviously. And everybody has their own way.