For me, the most important thing is the writing - and certainly the director. But if the writing isn't there, it doesn't matter who the director is!

'Hester Street' was an incredible opportunity for me. That script was such an incredible script.

If I had the science and math capabilities, I would have liked to be a vet, but I don't! I don't have those capabilities.

I try to construct some kind of backstory for my character so that I have an idea of the life of that character - not just from the moment when the scene starts, but from before.

All of my films have changed my life. I've met so many people and broadened my world view.

'Hester Street' was my most complete character study, but 'Annie Hall' and 'The Last Detail' were also great.

I've been lucky in my career. I've worked with some of the greatest filmmakers and actors around. I'm so proud of some of my work.

This profession has no rhythm to it - you're either busy enough to fall down, or nothing's happening!

As I get older, I start to look back at the field that I've crossed and realize that it was a mine field.

I happen to think I look best in black.

For very few people is there a time when you, quote unquote, make it.

Life is very cyclical. And my career has been very-high-very-low, very-high-very-low, and I think it'll probably keep on rolling that way.

I think it's nourishing to do both comedy and drama.

It's like life: you have both comedy and drama. There's a balance, and I'm lucky enough to have it in my work.

I like the full spectrum of roles.

I started acting young, and I was a dramatic actress.

I want to be Geraldine Page; I want to be one of the greats.

I know that I'm in the minority to be able to keep working all these years. But I want more!

If they give you good words to say, and you don't get in the way of them, you'll be OK.

My first movie was with Mike Nichols.

There are directors who don't cast you for the way you act but for the way you are, the way you behave around the dinner table.

This is a grueling profession. Either you can't get work, or you can't get certain kinds of parts, or you get a part, and it kills you because it's not good enough, or you get successful and feel guilty about it.

I don't like to discuss my work in a lot of detail; I'm afraid of dissecting it in a way that is not good for me.

When you're doing a legitimate play, if you have a company of 12, it's considered a big cast.