In the U.S., they just want to know who you're sleeping with.

I got married to Chris Sarandon, who was a graduate student, and he knew everything at that point, I thought, because he was older. He introduced me to poetry and black-and-white movies.

It's really hard to find stuff that is original. You pick up scripts and in four pages you know where it's going and the same thing when you are sitting in a theatre, I just rejoice when something unfolds in a way that I'm not conducive.

Never root for a team whose uniforms have elastic stretch waistbands.

That's the thing about independently minded children. You bring them up teaching them to question authority, and you forget that the very first authority they question is you.

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 ask yourself, what is the point of the script? What is the script selling? Because all scripts are political, every story is political. It either challenges or reinforces some schism or stereotype. So what is the project going to say at the end of the day? What does it tell you about the world, or what does it challenge in terms of your world?