I never think of the future. I never imagine what comes next.
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To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.
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The worst is when I talk myself into something. Sometimes you take things because you want to work with a certain actor, or you want to work with a director, even if the script or the part's not that great.
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I had never done Shakespeare before, but I don't think you can be an actor and not do it. There were moments when I thought, I'm just not going to be able to pull this off.
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There's something magical still about it when I get in a darkroom, and you've shot a roll of film and you develop it and you look at your negatives, and there's, like, imagery there. That always stuns me.
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I could be making a lot more money now if I had chosen a different kind of movie, but none of that matters to me... I've done the parts I wanted to do.
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Your children are grown and your career has slowed down - all the stuff that took up so much attention is gone, and you're left with expansive time and space. You have to reimagine who you are and what life is about.
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TV is sort of the only way to go for an actress my age to make a decent salary; with independent films, you just can't.
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I never felt like I belonged in Minnesota when I was growing up there. That's why I was out the door as soon as I turned 18.