This is not the 19th century, where actors are expected to play completely opposite roles. We're not typecast, but we're brought in because somebody thinks that it's a good fit, so you make it a better fit.

We are talking about someone who has lived. It must be honored in every respect. The fictional can take any kind of channel - according to the actor's marriage to the character.

I was caught in a private cycle of sadness and the only conceivable relief I could find was in the telling.

This is not the 19th century, where actors are expected to play completely opposite roles. We're not typecast, but we're brought in because somebody thinks that it's a good fit, so you make it a better fit.

I think the chemistry on the Orange set is extraordinary and I’m going to risk and say this: I think by virtue of the fact that there are not so many men, we are free to be absolutely authentic. There is a lot of freedom and trust.

Life's so brief,” she goes on. “We're, at every juncture, staring mortality in the face. It's the very least we can do if we think it will be of any interest or value, to share the past. And although mine's been crooked, it's also been splendid. It's taught me to be vulnerable and humble, to write this book.

It's not refreshing where there is confusion or any kind of discomfort in a group that has to work that closely together.