There are so many varieties of films. You've got the jet-lagged films, where you fly to Bulgaria or wherever and get off the plane, and they bring you right to the set, and you start working, even though I don't even know my name, it's been such a long flight. Then there's the alimony films. But after you've been doing this long enough, you've gotten into every kind of situation you can imagine, even to the point where there is basically no script, so you have to kind of do it scene by scene and survive.

There's a potter that lived back in the 1800s, in Biloxi, Mississippi, and his name was George Ohr. He was of Russian descent, but they called him the "Mad Potter of Biloxi." I'd love to do a great character study and comedy about that guy's life. That would be my dream role. I know it's an oddball thing, but it's true. He lived at the turn of the century, in the 1800s.

I attribute that to the generosity of people that are in the entertainment business because they are all struggling. All roads seem to come to acting, for certain kinds of people that have a reason for being there. They want to be seen and heard, but there's more to it than that. There's a kindred spirit of struggling to find out, "What is this thing? What are we?" It's those eternal questions. But, in the meanwhile, I've met some wonderful people doing this.

When I do a horror or a fantasy film it all boils down to something in the script that surprises me. It could be a big thing or a small moment. If it's there I'll do it.

When I'm making a movie, I never watch the dailies. I see the movie once and that's it. It's really not about that for me. It's not about the externals. When I'm on a set, I don't want to see it. I want to be subjective in it. That's my habit now.

Usually the male control and domination that tends to be in our genes gets around a powerful woman who has the ability to make choices different from guys, it throws you off and you get frustrated.

I have never gauged myself against anyone else.