It is impossible for me to get involved in films that I don't like, so I just wait for a project that really tickles my fancy.

Music came as the best thing for me at home, where no one can tell you anything. For years I was so closed, wanting to do it exactly like I had it in my head, because this would be the only place that was superpersonal.

It doesn't help that we are three generations of actresses, who are always obsessed with losing time. But on the other side, historically, women have much more time on their hands than before. It goes together-the more time we have, the more we're flipping out about how we've got to deal with it.

The whole point of art school is that you're going to be able to have nudes all day long and a teacher who is there to move you. It's great.

I have a strong and strange character, and I've rarely met directors who knew what to do with this character. One of the few who did was my father, and in the theatre, Arthur Nauzyciel.

There's so many good books, but I'm always like, "I'm sorry, I have five more Faulkners to read, I can't be bothered." Most of the time when you try, you fall on the wrong one.

I'm in my father's car at age 9 or 10 crying to Leonard Cohen's 'Famous Blue Raincoat,' thinking that you could write nearly a love letter to a man who betrayed you by having an affair with your wife. I was thinking how wonderful and pure music can be for explaining situations.