I work in the '60s more than I've done anything else. I did a movie, called Down with Love, in the '60s. I did a movie for HBO, about the Johnson administration in the '60s.

The thing I worry about for myself is I spend a lot of time alone, and another person comes around and you're like, 'What are you doing here? Get out of here.

I'd love to be in the '70s. I'd love to have a big, long wig parted down the middle with flat-ironed hair and bell-bottoms. They're actually very flattering for my figure. The wider the leg, the better for a person with a booty.

My great love is the stage because I do feel like it's the place where, if you're lucky and everything is firing in the right way, you have the greatest shot at being successful. I don't mean by getting great reviews, but I mean by finding the core fo the person that you're playing.

I remember feeling the temperature change the first time the curtain came up, the difference between the audience temperature and the stage temperature. I'll never forget it.

That is my reality. It's that important to nurture and foster my own creativity. There are plenty of birthday parties I haven't been able to go to, weddings I haven't been able to go to because I've been working. Those are things that have not been easy to give up, but at the same time, it is my reality. It's my responsibility.

I will do plays as long as they're interested in having me do them. It's the biggest opportunity to learn the most about how to act. Something I discover every time I'm doing one is how little I know about acting - how important the art of listening is, and how important it is to listen with your entire body. You can tell so much of a story with stillness, and a lot of that can be from really actively listening to your scene partner.