Like most parents in the US, they are trying, with a little help from UNICEF, to do the best they can to help their children reach their full potential.

I just love the fact that that's the way life is. When something horrible happens, you do find yourself laughing in weird places in the midst of grief and crying in the supermarket when you see a cereal that somebody used to eat. There's just no way of guarding yourself one way or another. Everybody grieves differently, and there's no right or wrong way.

If Wes Anderson has a very strong cast, he can direct the minutia of that story and still manage to have something that lives and breathes.

You create this situation where you are so dependent on each other. That's especially true for film. In theater, the actor has much more say, much more control, for better or worse.

I married him [Chris Sarandon] my senior year, and after I graduated, he went to the Long Wharf Theatre in New Haven, and I tagged along and was doing some local modeling and commercials and things like that. A woman named Jane Oliver, who handled Sylvester Stallone, saw Chris at the theater and asked him to come in and audition. We went in and auditioned - he needed someone to read with him. I read with him, and she said, "Well, why don't both of you come back in the fall."

Everything's serendipitous and there's no way of knowing who's going to get sick or who's going to get hit by a bus or who's going to fall in love and who's going to get pregnant. All the things that happen, it's up for grabs so it's kind of an exercise in surrender in a way.

I'm a native New Yorker. Everything to do with New York feels like my family.