I got back into the position of taking care of my husband, which is what I'd learned that I couldn't really do: you can love and make things okay to a certain extent, but you can't fix. I didn't quite learn that until the kayaking incident. It became so clear then.

I think that things like curses or whatever - those labels - come from belief systems, universal belief systems. So when you get a global consciousness of something, then that becomes a quote-unquote "truth" for everybody. You know, "This is what happens in the Kennedy family." "This is what happens with the Hemingways." And the more people believe in it, the more it kind of resuscitates the problem; it keeps bringing life to this idea that a curse exists that you can never get out from under.

I'm really excited to act again because when I started out, there was an innocent sort of perception of the world that was coming though me, and I think now through a lot of experience and life and understanding, I've come full circle to having a purer response to things. So my craft will be really interesting to work from this place because I think acting is about being in tune with yourself - or maybe the struggle to be in tune with yourself.

There's no doctor in a white coat that's going to save you, or a system or a pill - it's always going to be you and the choices that you make.

I felt I had to share Idaho with my friend from New York because he'd shared New York with me, so I was going to share the beauty of nature with a man who went to museums and clubs late at night. But there was nothing to do where I lived at night.

The 'Hemingway curse' was such a huge, awful thing for me to have to deal with. . . . The reality is, because there are genetic tendencies toward mental illness, you need to be aware of them.

I think we should be passionately curious about what we do.