I've always had this idea that I wanted movies to make people better not worse.
I prefer to commit 100 per cent to a movie and make fewer films, because it takes over your life.
My kids are young and my life with them is really stimulating and really full and significant.
But the reason I became, why I wanted to be in the business was because there was Midnight Cowboy.
I spent a lot of time not in school, so I didn't have deep relationships with kids my own age.
The movies I made when I was 14 or 15, I have a hard time looking at those. Those were the awkward years. I don't know if anybody can look at something they did when they were 14 and not wince.
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.
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.
Knowing what paint a painter uses or having an understanding of where he was in the history of where he came from doesn't hurt your appreciation of the painting.
I want to be inspiring to myself, to my kids, my family, and my friends.
I think Anna and the King is a look at Asia from the Asian perspective, reflecting the Asian experience, which is very rare.
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 love European movies and I kind of grew up on European films.