Investigation was like a series of job interviews. Getting the door slammed in your face at every attempt wasn’t the exciting life of the detective portrayed on film or television.
I wouldn't do a film like 'The Dirty Picture.' I have a husband and kids, and I won't be able to do justice to such a role. You need a certain mentality and ease to carry such a character.
We all desire things that we believe we cannot have, and so my films reflect that again and again. The mystery must be solved, the goal attained.
[on Rouge] This is a film about communication that disappears. We have better and better tools and less and less communication with each other. We only exchange information.
There's something about the impact of a big screen that means something to me, even though I realize almost every film is fated to be seen for a year in theaters, and then forever after on television.
When my agents tell me how much I'm going to be paid for a film, instead of quoting a figure, they'll say: 'You're going to make ten pairs of Christian Louboutins.'
There have been moments where I'm like, 'I don't know how I'm going to survive and pay next month's rent.' And the next month I'm filming a movie in New York City.
It's that TV thing. You can be in the biggest film of the year and it will still not have the kind of impact a TV series has. Once you're in people's living rooms, that's it. There's no hiding place.
I buy DVDs almost every week. I'm more of a film buff, so I usually buy more DVDs than CDs, but if I like someone's album, I will buy the CD of it.
I used to do a lot of casual photography - back in the olden times when one used film - but it had fallen by the wayside over the years.
I never feel more alive than when I'm on stage. On film you feel chopped up, you can be acting from the neck up, or the hand, there is a lot of close up.
I wanted to prove that I could do something, so I made a short film. That was in fact my main concern, to be able to show that I could do one.
When people don't like the film, I can take a bullet. I don't mind you talking about me, but I'm protective of my actors, because they bared their soul for me.
In theater, you sometimes can only do one or two jobs a year because they're long periods. In film, you can shoot so many. It's quite interesting.
Live television drama was like live theater, because you moved without thinking about the camera. It followed you around. In film you have to be more aware of what the camera is doing.
I told them I belong to the same organizations and clubs Mrs. Roosevelt belongs to, but with a few brave exceptions, I was still unable to do films or television for the next seven years.
You know, the people who do indie film and decide who gets those little budgets? They're mean, man. They're cold and very cool-oriented.
I don't know what I'm qualified to do, film-wise... So it's really down to a director or a casting director to find something that they think I could do.
For me, the most absorbing films are those that address big questions and real ideas but embody them in small examples that we can appreciate and comprehend.
I don't believe in objectivity. I observe the observer's paradox every moment I'm filming. Your presence is changing everything; there's no mistaking it. And you have a responsibility.
I feel I've made the transition from model to actress, but I'm not that secure about it. Lauren Hutton, Jennifer O'Neill - we all know that a few films don't mean all that much.
