The only time I've really been away from my kids to do work was doing Shall We Dance because they both were in camp and it was the first time in twenty years that I haven't been with my kids.

Do you really expect me to say gravity hasn't taken its toll? No. But as I'm earning these lines [in my face], I'm making an aesthetic choice.

When I got the script for Thelma & Louise, when I met with the director, Ridley Scott, I said, "I don't want to do a revenge film. I'm not interested in doing that moment in the script after they shoot the truck, where it says they jump up and down and they're real happy about it".

Kurt Vonnegut wasn't a chatty guy, but when he spoke, it was always clear and very funny, in the way that he wrote, in a very specific kind of combination of word groupings and expressions that lived somewhere else.

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.

It is a different world than when I was growing up, and you started to just kind of maintain at thirty-five and just hope you can hope it together. People are a lot more vital than I am and doing all kinds of things and leading really important movements.

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.