There are a lot of big spec houses now all across Connecticut, a lot of ostentatious showing of wealth.
You have to love the characters you play, even if no one else does.
With the hugely talented women I've worked with or observed, it's not a question about temperament or ego; it's a question about getting it right. If they've got a reputation for being difficult it's usually because they just don't suffer fools.
When they tested Fatal Attraction, the audiences were so upset by her behavior, they literally demanded her blood.
When I hear that somebody's difficult, I think, Oh, I can't wait to work with them.
We were fortunate enough to have several good books detailing the camps and the women. Some were by the survivors. I also got to talk to some of the women who had been in the camp, survivors.
I've been sacrificing my life for my work for 30 years, and now I want it the other way around. I want to find work that fits into my life and that would be based here.
I'm an actor, that's my contribution.
The best thing I have is the knife from Fatal Attraction. I hung it in my kitchen. It's my way of saying, Don't mess with me.
It's not good to be in a situation where people don't want to direct you or don't want to question something.
It's gotten out of control. It's taking bigger and bigger names to make smaller and smaller films. I worry that important films without a big name attached won't get made at all.
It is very difficult for girls. They're told to look one way, but to act another way.
Ismail Merchant was just the most seductive, passionate, outrageous, driven, genius of a man.
We have to be vulnerable as actors, but we have to protect ourselves.