It usually takes about two and a half weeks after you're done filming where you kind of return to yourself again.
I don't need a reason to kill myself-I need a reason not to.
I hope my talent has something to do with it. I just think this business is so crazy. I obviously do the best I can, and the directors I admire see something in me. But this is a strange business, and there are people who are incredibly talented who never make it, who never get these opportunities. So that's why I say I'm lucky. I don't feel that I'm not talented - I think I am talented - but I also think I'm very lucky.
You know, you really do choose your existence in a way.
One of the reasons that I do a lot of different kinds of pictures is because I learn a lot when I'm doing them.
I like to investigate all different kinds of people, I guess, and find out what makes them who they are, and try to be honest in the portrayal, and truthful, and find out how to understand that person, how to communicate that person's experience.
I've never done anything that I felt was crossing the line for me. But everybody has to make that decision individually. Like, I've never shot heroin to play a heroin addict. I've never turned a trick to play a prostitute. Whatever. You draw the line where you feel it could be harmful.
People equate success with youth. And if you haven't had a certain amount of success by a certain time in your life, it's never going to happen. There's a fear about that. So people start lying about their age really young. I've never done that because I think it's so insignificant.
Even if the role is very far away from me, to try and make it as nakedly me as possible is an intriguing notion.
I just don't plan things. I live a month at a time.
For me, something dangerous would be playing thebabe in a huge studio film. That would be terrifying because I'dstink... I want to explore human beings on as deep a level as I can.
Even when you think you can detach yourself from the characters, you don't. Because you're spending so much time trying to realize this person and make them real that they do infect you, in a way. And you do take them home and live with them, even if you think you're turning the character off. But in order to pull off a role convincingly, you wind up thinking about that person all the time, and it does sort of creep into you. And then there are things that you'll respond to, or react to in a very different way than you would normally.
I love being in therapy. It's just constantly fulfilling for me.
I don't really watch my moves all that often; I mean, really, I don't.
Children accept their world as the world. I grew up like kids that I went to school with. Their parents were either shrinks or actors.
I think Robert Altman could see things in me that I didn't know I possessed, which is really exciting. He also instilled a tremendous amount of confidence, because he would say things like, "These are the bare bones, but I want you to go fill it out. You find the character. You bring it to me. You write whatever you want." And if you had an idea, he wouldn't want to hear about it. He's want you to show it to him.
I love Polaroids and I have a Polaroid camera collection from the '50s.
I hate parties. I don't like big crowded things.
Writing, producing and directing, I must say, is incredibly satisfying and gratifying.
I loved acting as a kid because I was kind of shy, so it brought me out of myself.
I've always done roles that really appealed to me on a gut level and which I found inspiring.
It's very exciting to work with people who inspire you.
I don't want to play the same person twice, that's not why I wanted to act.
When I find a role I want to play, I just go after it.
Quentin's [Tarantino] thing is "I don't want anybody to get up until they have to. So, because he really wants things to come organically. And he may have specific things like "No, this ... I want you to be here so that when he punches you, it falls. I want that action to happen here." But you feel like it does, all the blocking does come from an organic response to the material.
