Really, for me, it's important to know who's pitching and who's catching - just what that scene is supposed to accomplish in terms of storytelling. That being said, on the day, basically what you're trying to get yourself into an open place. And if the character is in a state of anxiety or vulnerability, you try to find some touchstone.

Somebody can be the captain of the ship, which allows you to make big mistakes.

It is important to have a woman editor. Movie is an industry where it is predominantly women. Male editors might cut out pauses that are interesting, while a woman might not be afraid of that pause. Trying to do a movie with an editor who is not funny is impossible. There are certain talents that go with certain genders.

When you run into someone in NY it is usually a pleasant surprise. When you run into someone in LA you usually had a car accident.

When Alan Rickman, a dear friend of mine, played villains, he always made it complicated. He didn't redeem what they did, but he made you feel that it was hard for them to be so horrible.

I was a voracious reader and the library fed my curiosity, imagination and my soul. I read by the shelf - biographies, fantasy - all and everything fed my dreams. Then as an adult whenever I would go on location the first thing we would do as a family is sign up at the closest library. Not only would we find books, but what was happening in that town, because the library is the head of the community.

You have to take away the idea that something you do is right or wrong. I don't think there's a right or a wrong; I think there's an "it works" or "it doesn't work" for the whole. And that's why you need a director you trust, so you can just keep throwing out suggestions.