The reason I got into this business was for the privilege to exist in different genres and different worlds and play out different realities.

A woman needs her privacy while drinking a dirty Belvedere martini on the rocks with a splash of Tabasco.

I feel very fortunate to be currently in the position where I can choose to be an actor, writer, director, or all of them at the same time. With being a mom, I've recently had a priority shift that has sort of thrusted itself on my existence, but I tend to use all experiences as something to work with. Anything that is profoundly, energy shifting - like having a child - is fodder for creative thought.

I find the female tragedy of insecurity to be hilarious. We get obsessed over issues like the tiny skin tags on our backs or that we're fat. You read one line in a magazine and it sends you into a tailspin.

You can't live in a dialect without tremendous work. Like any muscle, accents and voices and languages are all formed out of the muscles that we have in our mouths and faces and tongues.

You have to keep hobbies in L.A. Otherwise, it's sad.

I worked with an amazing dialect coach named Jill McCullough. We did Skype sessions while I was shooting "No Escape" in Thailand, actually. So three times a week I would have long, two-hour sessions with her just working on the nuance of the accent, which I had had a huge background in because I went to drama school in England for four years.