When we shoot 24, there are so many things I have to worry about, from the script to technical things to my performance, that I don't have a second to be bored or take anything for granted. We produce 24 hours of film a season, which is like making 12 movies.
There are a lot of movies I'd like to throw away. That's not to say that I went in with that attitude. Any film I ever started, I went in with all the hope and best intentions in the world, but some films just don't work.
I love grabbing my wife and going to a distant location to film.
I never had a great role in a great film.
I played the best role I've ever seen on TV or film in the last five years. It was hugely gratifying.
Film music should have the same relationship to the film drama that somebody's piano playing in my living room has on the book I am reading.
Film is our literature, so we should tell stories that are apropos of our culture, in that we can learn something about ourselves.
I think the film is beautifully realised. His legacy as a journalist was recorded - as it were - well, and certainly the important issues of the '50s - or even today - are delivered and presented to the audience in a rather honest and objective way.
It would be real nice to have some kind of bell or whistle attached to this film - it would give it a longer life. People seem to need that validation to go to a film these days.
So much money and energy is expended making a film that I think it should be used for positive ends.
Television and film are our libraries now. Our history books.
In this film George presents issues that are important, essential and vital, whoever you are, about constitutional rights and the bedrock of a democracy. I am drawn to those kinds of stories because they inspire me - they are responsible to a populace and responsible to man.
In the 90's action pictures were all the rage. As a woman, I was fed up with them and I initially thought that the script was just another action film dressed up as a period piece.
I phoned Joe Roth, who was head of the studio at the time, and told him how beautiful the film was, and that I was fully ready to support it, that Michael's work was wonderful and I imagined that Daniel would feel the same. He listened quietly and read between the lines.
There came a point in time when Michael was under a great deal of pressure to alter the film in a way that was just disturbing to him. I had not seen the movie, yet. He phoned me in July of '92 to look at his version.