I was so lucky. I was very broke and I was taking classes at Lee Strasberg's Institute and I saw a 3 X 5 index card on the bulletin board advertising for college-aged girls for a film. That was Animal House.

I said to myself, 'I've waited a long time in my life to have a child, and I'm missing it, I want to continue to have a career, but not this way.

I think that there is a real beauty to the live aspect of the theater, and the working with a director for a month on a script in the isolation of a room and really deeply delving into who are these people, what is the story we're telling, how do we want to tell it?

CGI is to me like watching a cartoon. It can be effective, if it's done well. A lot of times you don't feel any real risk. You're watching a bunch of computer-generated graphics.

In the theater, actors are the essential element of the work. In a film, it's a real collaboration - not that theater isn't, because it is - but it's a collaboration to such an extent that you can give a performance in film that sometimes you look at and you go, "Well, that's not the performance I was trying to give at all."

There is a difference when you work with actors who have worked on the stage. When we're out there in front of an audience eight times a week, you can't do it on your own.

You know, I don't really understand a suburban environment. I want to be out in the woods, I want to be where it's wild, I want to wake up and hear birds, I want to walk outside and see a gaggle of turkeys bouncing across my lawn - I want to be someplace like that - or I want to be right in the middle of an urban environment.