I didn't have any ambition to produce big mainstream popcorn movies.
I think 'destiny' is just a fancy word for a psychological pattern.
I spent a lot of time not in school, so I didn't have deep relationships with kids my own age.
I prefer to commit 100 per cent to a movie and make fewer films, because it takes over your life.
I love more than anything looking at a movie scene by scene and seeing the intention behind it.
I love European movies and I kind of grew up on European films.
I have, in some ways, saved characters that have been marginalized by society by playing them - and having them still have dignity and still survive, still get through it.
I had to take my makeup off at work every night. I wasn't allowed to do it at home because my mom said that when your work day is done, you're done with work.
I guess I've played a lot of victims, but that's what a lot of the history of women is about.
I think an artist's responsibility is more complex than people realize.
You develop a third eye where you kind of know where they are in a room at all times but no matter how vigilant you are as a parent, at some point, you'll look around a room and can't find them and there's a searing pain that goes through your body.
I fantasize about having a manual job where I can come home at night, read a book and not feel responsible for what will happen the next day.
Cruelty might be very human, and it might be cultural, but it's not acceptable.
By the first week of shooting, you know exactly where your film is heading based on the psychology of your director.
But the reason I became, why I wanted to be in the business was because there was Midnight Cowboy.