I'm a grown-up and I'm a creative person so I should try to give something to that and see what I can make with that. And not sit around listening to people be like, 'You really should be on an HBO show. You'd be great on an Amazon series.' You're like, 'Thank you, okay. I don't have any offers.'

You're making a fantasy. You're making something real out of a fantasy. And then it no longer exists. It's heartbreaking to leave behind. I was devastated after Waiting for Guffman. I had never gotten so close to people I've worked with.

I don't have a publisher yet, so I'm not in the process of that next stage and I don't know what that's going to look like. So I feel like I finished stage one [with my book].

There are all these scripts where the women, if they're working, are prostitutes and lawyers with an angry streak who'll kill you. It's a reaction to women leaving their men and men being angry about it and saying it on some subconscious level

I was around New York at a time when independent cinema was at its peak and became kind of popular and mainstream. It got some hype, culturally. After that, studios started to have independent companies within their studio system, and they found bigger stars willing to do new material. That's kind of what it's turned into.

People are like, 'Was it fun? Did you eat lots of cake?'

I don't want to sound like too much of a drama queen! But I'm not going to tell you, 'Oh, it's just so much fun.' It's work [working on film].