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The directors I consider really great have the ability to recognize when something's going in an unexpected direction and see it as a bonus and be able to go with it, as opposed to locking down what they thought was going to happen.

I can't speak for other people, but for me, it never really worked to think something like, "What Beatle did she like in high school?" or those kinds of elaborate backstories.

I think you have to be ready to switch gears and go with the team as a director, as opposed to superimposing your own strict idea of the story. There are very few directors that can micromanage and still come out with something that's living and breathing on a page. Wes Anderson is one of those.

I remember Anthony Perkins saying, "Real is not necessarily interesting." So real is not enough. But what happens as an actor is that you're really trained to listen and to be open and have empathy. It's such a natural consequence that you end up being more political. You can empathize with the mother whose kids are going to be sent to Iraq, or you can emphasize with the mother who is losing their child to a disease. How could you not then be active? So you're automatically drawn to that aspect in the rest of your life.

That's one of my little expressions. I never really studied acting so I kind of kiddingly talk about "building your circle" and "mooding up," because I really didn't learn any technique.

My aunt had given me these rosary beads that were glow-in-the-dark. So all of a sudden I look down and they're glowing, and I'm looking toward the door and thinking, "Oh, my God, I don't want anything to come though here. I'm not worthy, I'm not ready." I didn't want to be one of those kids who sees Our Lady of Fatima.