The limelight is a tricky place, because you can't believe what's going on around you. You stop observing. You stop perceiving. You stop extending yourself, and you become isolated.

You ought to have a perspective when you're making a film.

I've played a lot of mothers in my movies.

To me representing clairvoyance, how was I going to achieve that, how I was going to capture that? For me, it all became about her gaze and the way she takes you in. It's a rhythmic thing and a stillness thing to consider but these are little details, little nuances. We were invited to the sanctity of her home and there were roosters running around and she's screaming, "Jackie, be quiet!" Even though she's in the middle of the thing. And these are the details that we wanted to incorporate into our story.

Sometimes music helps. If I feel that it's bogus, I'll literally just call myself out on camera and say that it's dishonest. You do whatever it takes.

There are women who make things better, there are women who change things, there are women who make things happen, who make a difference. I want to be one of those women.

I've done TV, but never where you're given this much time to live with a character, to study the tone and hone it and repair stuff, to go back and watch old episodes and go, "Oh no, that's a misstep. That's a victory. I should do more of that, less of that."