Somebody said something really smart: It's like you end up being the defense attorney for your role. Your job is to defend their point of view. You're fighting for what they want. You learn that in acting school - it's Acting 1A: 'What do you want? What's in the way?'
Most women would say they relate to 'Hedda Gabler' - there's a part of her in them. Ibsen was writing about a deep ambivalence that many women feel about domesticity. I think about myself and friends of mine - we have some of Hedda's qualities and traits.
I wanted to be a classical actress. I plodded along. I went to junior college in San Francisco, I was in a Repertory Company. My hero was Eva Le Gallienne, who was a great theater actress at the turn of the century who created her own company, and she wrote these hilarious autobiographies at the time.
It used to be the one or the other, right? You were the 'bad girl' or the 'good girl' or the 'bad mother' or 'the good mother,' 'the horrible businesswoman who eschewed her children' or 'the earth mother who was happy to be at home baking pies,' all of that stuff that we sort of knew was a lie.
I love being busy, and I love having a lot going on; it's exciting.
I saw a Shakespeare play when I was - I guess I was in junior high. And I just fell in love with the theater because, for me, it was a combination of big ideas and feeling.
I think when you're at your best as an actor, it is cathartic.
I have perfected the art of putting my feet on my husband's lap during awards ceremonies so he can rub them.
When I started in the theater, I'd do plays by Shakespeare or Ibsen or Chekhov, and they all created great women's roles.
I have huge chunks of time when I'm not working.
My character in 'Running With Scissors' is manic-depressive. She starts out as a wonderfully eccentric person, and then descends into a terrible illness.
The time I spend with my kids informs every fiber of who I am.
I remember hearing someone say that good acting is more about taking off a mask than putting one on, and in movie acting, certainly that's true. With the camera so close, you can see right down into your soul, hopefully. So being able to do that in a way is terrifying, and in another way, truly liberating. And I like that about it.
It's easier to see in someone else, another actor, how they kind of disappear and then this other persona appears. A great actor is a thing of mystery.
Five billion people have played Hamlet. 'To be or not to be.' And how do you do that and find your way into your own journey, your own way of telling it?
We still want to idealize moms, and sometimes we want to idealize actresses who are moms, too. I know that's something I've experienced, but we're all just doing the best we can and we're all trying to raise our kids and talk to them about everything that needs to be discussed.
To me idealized characters are so boring to play, especially having grown up in the classical theater. That's a great experience, but as a woman, especially, you've played a lot of idealized characters. So when you've got someone who has weaknesses as well as strengths, that's interesting.
There's no question that you can explore aspects of yourself through roles that you play, and you get a chance to investigate yourself; that's healthy, and it's therapeutic in a way. But if you're indulging yourself, exploration at the cost of the story or the project, that's not good.
I love the craft of acting, I love learning, I love everything that comes with the new project; the whole process is totally intoxicating to me.
I read 'Game Change.' If you want to relive the campaign, that book is unbelievable. It's great. It's the book of that campaign. It brought all the memories back of everything with Clinton and Obama, and Sarah Palin and McCain, and choosing her, and John Edwards. It was an interesting book.
