Just because I haven't yet had any project surgery, I'm not going to knock it, because I think women have the right to do whatever they want to their bodies that make them feel good about themselves.
Do you really expect me to say gravity hasn't taken its toll? No. But as I'm earning these lines [in my face], I'm making an aesthetic choice.
I feel I`ve always been on the outside and always on the edge of an abyss. The women I portray, and the woman I am, are ordinary but maybe find themselves in extra-ordinary circumstances, and what they do is at great cost.
I hope they're present in their lives and feel some kind of empathy. I think a lot of the mistakes that have been made in the world have been through a lack of empathy. If you can identify with someone else and empathise with someone else, then activism is a short step away, she explained in an interview with Parade.
If Wes Anderson has a very strong cast, he can direct the minutia of that story and still manage to have something that lives and breathes.
Sometimes what happens is that, when you micromanage actors and moments, it just doesn't quite live.
When my children wake up in the morning they know they will eat breakfast, get hugs from their parents, go to a good, safe school. Plates are full and store windows are glittering. But at the same time the great majority of the world's children and women stand - no - shiver on the precipice
To each person, their own way of death - with dignity.
What I like about The Meddler style of movie is that it's a fairly lighthearted romantic comedy, but there are hidden moments where something happens that's unexpected, that hopefully have some kind of emotional resonance that you didn't see coming. I love when a film does that.
I feel it's easier to sit in the backseat and go, "Oh, yeah, let's go there." You're not worried about getting to the destination. But the guy or the woman who has to get you to the destination is worried about a lot of other things, so my job as an actor is to try as many things as possible, be as open as possible, listen, and keep my heart open.
I hesitate to direct even though I feel I contribute a lot on a set.
That's the thing about independently minded children. You bring them up teaching them to question authority, and you forget that the very first authority they question is you.
My intent is to speak on behalf of those whose voices are less readily heard - children and women at risk
Really, for me, it's important to know who's pitching and who's catching - just what that scene is supposed to accomplish in terms of storytelling. That being said, on the day, basically what you're trying to get yourself into an open place. And if the character is in a state of anxiety or vulnerability, you try to find some touchstone.
I think you have to be ready to switch gears and go with the team as a director, as opposed to superimposing your own strict idea of the story. There are very few directors that can micromanage and still come out with something that's living and breathing on a page. Wes Anderson is one of those.
Theater for me is terrifying but much more rewarding, because you know what they're seeing. Film is all little bits and pieces. And you can do an amazing job, but if the camera isn't getting it, it doesn't work. And then other times when you feel you really weren't present, and then you see it and somehow it works. So there's a mystery, there's a strange collaboration that takes place with everybody.
One of the first lessons I learned as a mom was to forgive myself for not being perfect and to try to prioritize what was really important. I had to really accept very early on that after a while, reading a script and finding the form for the class trip, it was hard to realize which one had priority at times. So I just had to say, "You're doing the best you can, and when you make a mistake, apologize. Your kids know that you love them."
I got married to Chris Sarandon, who was a graduate student, and he knew everything at that point, I thought, because he was older. He introduced me to poetry and black-and-white movies.
It is a different world than when I was growing up, and you started to just kind of maintain at thirty-five and just hope you can hope it together. People are a lot more vital than I am and doing all kinds of things and leading really important movements.
I married him [Chris Sarandon] my senior year, and after I graduated, he went to the Long Wharf Theatre in New Haven, and I tagged along and was doing some local modeling and commercials and things like that. A woman named Jane Oliver, who handled Sylvester Stallone, saw Chris at the theater and asked him to come in and audition. We went in and auditioned - he needed someone to read with him. I read with him, and she said, "Well, why don't both of you come back in the fall."
Now, Tim has been really, really busy, and it's been my job now to kind of deal with everything. And trying to figure out how we balance that, logistically it's a nightmare. But these little jobs make it much easier.
I'd have conversations with the camera crew about what was going on in the scene, so that they were prepared to shoot it. I love the fact that when you work, you create this tribe.
I remember Anthony Perkins saying, "Real is not necessarily interesting." So real is not enough. But what happens as an actor is that you're really trained to listen and to be open and have empathy. It's such a natural consequence that you end up being more political. You can empathize with the mother whose kids are going to be sent to Iraq, or you can emphasize with the mother who is losing their child to a disease. How could you not then be active? So you're automatically drawn to that aspect in the rest of your life.
I think sometimes what happens is that all of this feeling out of control manifests itself in trying to control your body; whether it's an eating disorder or talking about getting your nose fixed, as if that's going to be the solution to all the pressure.
In the U.S., they just want to know who you're sleeping with.
