1. It's an interesting combination: Having a great fear of being alone, and having a desperate need for solitude and the solitary experience. That's always been a tug of war for me. 2. But the reason I became, why I wanted to be in the business was because there was Midnight Cowboy.
4. I'd like to be Dakota Fanning when I get young.
5. Cruelty might be very human, and it might be cultural, but it's not acceptable.
6. I want to be inspiring to myself, to my kids, my family, and my friends.
7. I think an artist's responsibility is more complex than people realize.
9. But now I really don't want to work unless I really, really care about a project.
10. I am the luckiest filmmaker I know.
12. I didn't have any ambition to produce big mainstream popcorn movies.
13. I don't know why people think child actresses in particular are screwed up. I see kids everywhere who are totally bored. I've never been bored a day in my life.
15. I fantasize about having a manual job where I can come home at night, read a book and not feel responsible for what will happen the next day.
17. I guess I've played a lot of victims, but that's what a lot of the history of women is about.
18. I have, in some ways, saved characters that have been marginalized by society by playing them - and having them still have dignity and still survive, still get through it.
20. I love more than anything looking at a movie scene by scene and seeing the intention behind it.
21. I spent a lot of time not in school, so I didn't have deep relationships with kids my own age.
23. I think Anna and the King is a look at Asia from the Asian perspective, reflecting the Asian experience, which is very rare.
25. I think anybody over 30 plays parents because it happens in your thirties and so that's kind of a natural progression. But I'm definitely drawn to it. It's probably the most intense, passionate thing that happens to you as you get older.
27. I'm kind of a chatterbox and I talk really fast.
28. I've always had this idea that I wanted movies to make people better not worse.
30. Knowing what paint a painter uses or having an understanding of where he was in the history of where he came from doesn't hurt your appreciation of the painting.
32. The best reason to make a film is that you feel passionately about it.
33. So, yes, there's nothing I love more than listening to directors talk about their movies.
34. Well, I certainly was exposed to and learned to appreciate the work of great directors early on. As a kid, my mother used to take me to see really interesting arty films in Los Angeles.
36. You develop a third eye where you kind of know where they are in a room at all times but no matter how vigilant you are as a parent, at some point, you'll look around a room and can't find them and there's a searing pain that goes through your body.
38. I've gone through phases of just forgiving your parents for not being as young as they used to be or not being able to do the things they could do before, and I think this film is about forgiveness. It has a real fondness and a real bitterness as well towards family members.
40. There's a kind of intensity that she has, and a real focus… I can glean from her personality that she's going to have a very long career and is going to be a very centered person. You just look at her and go: "Wow, this kid has really got it together", and it's just so nice to see.
42. It becomes this weird reality - 12 hours a day stuck inside this tube. Half the time the (background actors) were really sleeping. It was like a real airplane, so they were all knocked out.
43. It was like working on a cruise ship.
44. I don't need to be Tom Cruise. I just need to work forever.
45. I think that women are more interesting in their forties.
47. Claustrophobia makes it the perfect setting.
49. It's kind of about a vigilante, somebody who has been the victim of a crime and who can't quite get over it and then finds herself mowing people down.
50. Russell, I think, it was a better performance than what he has ever given.
52. That was heartbreaking, to have that fall apart, two weeks before shooting.
53. But these things, you stick with them, work with them, and they bubble up again, eventually.
55. It's my job… I wouldn't not promote my movie and you want to get out there and tell people what it's about and to communicate why you loved it.
58. You have to make a big effort to try to have a life, and that's important to you only if you spent your entire childhood not having one.
61. Anna changes. That's something that neither Deborah Kerr or Irene Dunne could do. They had to start off soft and stay that way. In our version, she's sort of tough and stubborn, but as time goes on she softens.
63. I can never work again for a bad person with a huge ego.
65. I stand to make more money doing that sequel than I've ever made in my life.
66. (on advantages for actresses over 40) They've lived longer, they're more confident about their choices and they don't have to be hip and cool anymore, which I think is a godsend - you make really bad choices when you are trying to be hip.
68. As time goes on, I will play characters who get older: I don't want to be some Botoxed weirdo.
69. (on the film adaptation of Sin City) That was so painfully cartoonish I was offended. I don't know how you enjoy or laugh about a child abduction and molestation. What part of that sentence is funny? I can't get beyond that. I don't know if everyone understands the impact of that movie's message.
71. (on her role in Taxi Driver (1976), when she was 13) I spent four hours with a shrink trying to prove I was normal enough to play a hooker. Does that make sense?
72. It's not my personality to be extroverted emotionally, so acting has been helpful to me.
73. I could tell you the criticism backward and forward about Little Man Tate (1991). But it didn't bother me as long as they were talking about the work and not about "she has fat thighs" or something. But I fared really well with "Tate," so I shouldn't be complaining.
75. If I fail, at least I will have failed my way.
76. (on "Foster Child", her brother Buddy Foster's unauthorized biography about her) A cheap cry for attention and money filled with hazy recollections, fantasies and borrowed press releases. Buddy has done nothing but break our mother's heart his whole life.
78. I'm interested in directing movies about situations that I've lived, so they are almost a personal essay about what I've come to believe in.
79. Acting, for me, is exhausting. I'm always more energized by directing. It's more intense to direct. I can pop in and express myself, then pop out again. It's a huge passion for me.
81. I'm nervous every day on a film set. The anxiety of performance is not like anything else because you never know if you'll get there or not. There is an anxiety when it comes to finding the truth.
82. I'm lucky that people do leave me alone. I'm not Madonna. The red carpet is work for me. I work from 9-to-5 and when I get home, I don't want to go back to work by going to an industry event. For me, putting on makeup and a fancy dress is work.
84. Motherhood doesn't mean I don't have a creative side that I need to nourish. It doesn't mean I don't have independence from them. I'd be a crazy person if I didn't.
86. (on the making of Taxi Driver - 1976) There was a welfare worker on the set every day and she saw the daily rushes of all my scenes and made sure I wasn't on set when Robert De Niro said a dirty word.
88. (on Taxi Driver - 1976) I think it's one of the finest films that's ever been made in America. It's a statement about America. About violence. About loneliness. Anonymity. Some of the best works are those that have tried to imitate that kind of film, that kind of style. It's just a classic. I felt when I came home every day that I had really accomplished something.
90. (on her role as the child prostitute Iris in Taxi Driver - 1976) I spent four hours with a shrink to prove that I was normal enough to play a hooker. It was the role that changed my life. For the first time I played something completely different. But I knew the character I had to play - I grew up three blocks away from Hollywood Boulevard and saw prostitutes like Iris every day.
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