I'm addicted to routine. I don't know if that's because I moved around so much as child - by the time I was 12 years old, I had lived in about 10 different places. But I like going to the theater at a certain time.

I've never been very comfortable as an actor looking out into the audience; I always like to keep my focus on the other person. When you start playing out to the audience, it takes me out of it, because people don't do that when you're in life behaving with another person - you don't often look out, around you, in a presentational manner.

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.

Anything is possible, and the truth is any human being at any given moment, no matter how good they are - not only at their job but also as a person - they're capable of anything, and it's not always a conscious thing.

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.

I learned, having played Marcia Clark, what the value of that is in your life because it can affect everything, every choice you make, the way you deal with a stranger on the street, or your best friend or lover. It's a powerful thing to know yourself and to have the commitment and the courage to let that be your guide.

All of my friends went to college and I got a job at Circle Pizza, where I worked for 24 hours. I had to call my mother four times to ask her how to spell Parmesan. I'm not kidding. I was a terrible speller. I think I was really nervous that I somehow didn't feel right out in the world in that way.