The movies I made when I was 14 or 15, I have a hard time looking at those. Those were the awkward years. I don't know if anybody can look at something they did when they were 14 and not wince.
I think an artist's responsibility is more complex than people realize.
I spent a lot of time not in school, so I didn't have deep relationships with kids my own age.
Cruelty might be very human, and it might be cultural, but it's not acceptable.
I think 'destiny' is just a fancy word for a psychological pattern.
But the reason I became, why I wanted to be in the business was because there was Midnight Cowboy.
I don't know if I see myself as really an action hero, but I like doing physical movies and I like doing movies where the writing is very lean.
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.
I want to be inspiring to myself, to my kids, my family, and my friends.
I prefer to commit 100 per cent to a movie and make fewer films, because it takes over your life.
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.
I love more than anything looking at a movie scene by scene and seeing the intention behind it.
I had to take my makeup off at work every night. I wasn't allowed to do it at home because my mom said that when your work day is done, you're done with work.
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.
I think Anna and the King is a look at Asia from the Asian perspective, reflecting the Asian experience, which is very rare.
I love European movies and I kind of grew up on European films.
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.
But now I really don't want to work unless I really, really care about a project.
So, yes, there's nothing I love more than listening to directors talk about their movies.
I've always had this idea that I wanted movies to make people better not worse.
I wish people could get over the hang-up of subtitles, although at the same time, you know, that's kind of why I'm kind of pro dubbing.
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.
I didn't have any ambition to produce big mainstream popcorn movies.
The best reason to make a film is that you feel passionately about it.
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.