I think it's very important that films like Bad Hurt don't get lost in the mix of the sci-fi-kill-everything-on-the-screen-blood-dripping-down-the-walls sort of the world of the cinema that we live in.

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."

For me, the motivation really was to work with Al Pacino. To me, that seemed like an incredible opportunity, just a learning opportunity because I thought so highly of him.

Let's just say I decided that while my son is young I don't want to do projects that would take me away for months.

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.

People want to see a movie that casts a mature woman across from a mature man.

I've never done anything for money. My first love is things of limited commercial appeal. I could be happy doing Shakespeare for the rest of my life.