People think I disappear sporadically, but I just do projects that don't get international acclaim.
I think Ada in 'The Piano' is the most interior character I've ever had the chance to play, either on the stage or in anything I've done for film or TV.
As we get older, people close down. We get less adaptive, less flexible - literally. Curiosity can diminish, and you want safety. You want what you know.
I got a horror film, 'The Burning,' and suddenly I was making crazy money, like a thousand a week, so I moved into an apartment on Amsterdam with a guy who was also in 'The Burning,' Jason Alexander.
I love to look at physically beautiful people, and obviously others do, too. But there's such a narrow definition of what that is; the people who are my friends in life, the more I get to know them over the years, the more beautiful they are to me.
I'm not a classically beautiful person, but hopefully it increases my longevity as an actress that my career isn't dependent on my great, great good looks.
I really would love to take a big break and not be photographed, not perform.
Good female parts are hard to come by, so I go all over the place to find them: cable TV, network movies of the week, foreign films, independent American films, studio films, the stage.
I've worked with a lot of female directors over the course of my career: Martha Coolidge, Catherine Hardwicke, Jodie Foster.
Is there a higher energy? I would say yes, even if the energy is collective. Even if it's kind of Jungian, or the whole thing is collective consciousness, that may be God as far as I'm concerned. So is there an energy that's higher than mine? Yes. But would I claim it as God? I would say no.
Is there a higher energy? I would say yes, even if the energy is collective. Even if it's kind of Jungian, or the whole thing is collective consciousness, that may be God as far as I'm concerned. So is there an energy that's higher than mine? Yes.
I am a huge fan of Cronenberg, all his movies.
Sometimes I go, 'Wow, this is a director I really, really want to work with,' like David Cronenberg. I haunted David Cronenberg for years before, and then he offered me a role.
Actors do movies because you want to make a connection; you want an audience to recognise themselves in what it is that you're depicting.
There were so many lead roles available when I was in my thirties. Once I hit 45, there was a real downturn. But I got an incredibly provocative, delicious lead role in a television series called 'Saving Grace,' and I loved the character.
Once I hit 45, there was a real downturn. But I got an incredibly provocative, delicious lead role in a television series called 'Saving Grace,' and I loved the character.
I don't want to cancel the South out in my life. I carry my Southernness with me. God knows, it's a great place to come from. It's also a place I had to get away from. It is just an endless world for me, so much culture and eccentricity.
I've always had to move between a couple of years of unemployment, where offers are not provocative enough to take, and seasons where I work nonstop for a year. It's always been an erratic rhythm.
Feature films seem geared toward very large budgets, action, broad comedy. That seems to dominate all year where it used to be relegated to summer.
With longevity comes, 'Nothing is going to kill me; I cannot irreparably damage my career.' Those days are over. The most I can sustain are fender benders.
