I am a person who goes out without a purse. I put things in my coat pockets, so I don't have any accessories.

I love working quickly. I don't like to do thousands of takes, and I don't want to do thousands of set ups.

In Yale they convinced me I had no talent, even though I was always working. They cast me mostly as prostitutes and old women, and I stayed because I loved the writers. I loved Chris Durang and Wendy Wasserstein. I was always doing their work in the Yale Cabaret.

I wanted to play a mother again. I thought it would be interesting to play the mother of an older child. And it was also the kind of part I've been looking for my whole career, actually, in film. You know, just to play a femme fatale who's very smart, and wicked.

If one is married for a long time, and one does have a family . . . It is like an energy, a wonderful fire that never goes out underneath you, to help you go out into the world and do your damnedest.

It's rather rare when you play an older character in a movie in a supporting role to even get an arc.

I guess it's a pretty common experience while making a movie. You have to let go of the result and just hang on to the experience and the process, where each role takes you to a different country, as it were: You're shipwrecked on this new island, you have no clothes, you have to figure out how you're going to live in this new character. All of that turns me on.