The director's very important to me, particularly when the director has a recognizable style.

I feel like it's important to be flexible, particularly when I'm coming in late in the game and I'm connective tissue in the story. I'm not at the very center. It's important for me to have a certain kind of flexibility and try to help people do what they need to do.

If you get stuck and it feels a little stiff, then you do have to mess it up to find it. But other times it's really written and you just stick to your guns and do it as elegantly and as concentrated and as committed as you can.

That's a frustration sometimes, that certain directors that I'd like to work with, they just aren't doing stories that I'm sort of castable in. Not always, but sometimes I have that frustration.

Sometimes I think women are lucky because they can develop in ways men can't. The old-boy network may be oppressive to women, but it actually stunts men in terms of personal growth.

It's nice to go back with people that you already trust.

The real difficulty for smaller films, when they're made independently and it's time to go for a distributor, sometimes if it's a tough film and the people who financed it need their money back right away, it's much easier and lucrative to take a DVD deal.