How will the bombing of Baghdad, a city of five million, accomplish a regime change?

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.

To know that once you decide to look at life outside of the narrow limits of just your world and start to understand that you can make a difference in very simple ways - in volunteering and all the way up to bigger world problems.

On parochial school I was told I had an overabundance of original sin.

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."

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.

It didn't seem to have relevance, except in Central America or South America, countries where the church was connected to the fight of the people for economic justice. That's why it was so interesting to find myself back with Sister Helen [in Dead Man Walking], this new breed of nuns who were making a difference in the community.