I don't turn my nose up at anything. If it's a great part, it's a great part. It's not like, "I don't make studio films; I work for David Lynch and maybe a few American Playhouse directors, but that's it" - I'd love to do a box-office hit.

People are more willing to talk about child abuse. When this whole McMartin thing went down, I was at a dinner party with about eight people, all from different backgrounds and from all over the world. And every single person at that table had had some weird experience as a child. I think everyone has - whether it was with a babysitter, or playing doctor, but usually when some older person tries to come in contact with you. It's amazing how much we block out.

The really courageous and bold thing is to make movies about human behaviour

I still have a lot to learn. I just have two cats, and when I'm in a bad mood - you know, it would be very easy to throw a cat across a room.

What I consider a good part for a woman and what some other Hollywood people think are good women's parts are very different. I don't' want to play the supportive girlfriend who has nine scenes and just loves that man, maybe cheats on him in one scene but will always be there, and I mean - give me a break. You'll be offered the "lead" in this new hot film with such-and-such A-list director, "a fabulous part" - a fabulous part? A fabulous part is a character with a soul, who starts here and goes to there, you know? There aren't many of those.

I'm interested in flawed protagonists. I was raised on them.

Private boarding schools and Catholic schools on the East Coast are something. Choate really ruined my father's life. He's had nightmares about Choate every since he went there. Treat Williams, who's a good friend, went to Kent School, in Connecticut. The stories I've heard about those places - didn't you have one nun who was just the worst nightmare?