I love the comradery of doing theatre that you don't get in film.

And, I'd never done Tennessee Williams, and I had done Broadway musicals, so it was a challenge.

Now my way of doing it is I always get disappointed, but there's always a level of high quality.

I like to know where I'm going to be at seven o'clock.

I don't like sitting around sets - I don't like the unpredictability of it.

The truth of the matter is I stayed in L.A. raising my children, and when they went to college, I packed my bags along with them and came to New York and looked for parts in the theatre, because that's always what I preferred doing.

I don't like to cry in public, unless I'm getting paid for it.

Here's probably a short answer - I never feel in this piece that I'm stepping out and being Andrea Martin. I always feel like I'm Golde, so whatever Golde would do within those realms, that's what I would do.

For pragmatic reasons, I love the routine. I love the structure of it. I love knowing that my days are free. I know where I'm going at night. I know my life is kind of orderly. I just like that better.

I'm sick of the treadmill.

When I started out in Canada, I did a lot of voice-overs and commercials.

I love the comradery of doing theatre that you don't get in film.

Oh yeah, I'm about to host the Genies, which are the Canadian Academy Awards.

Here's the thing: I did one episode of Deep Space Nine, and I loved everybody that I worked with. People couldn't have been kinder... But I had a really, really difficult time with the prosthetics.

But I am Armenian and I understand what it is to lose a country and lose a family and have massacres and genocides and everything against my people.

I could have stayed in L.A. and done sitcoms for awhile and will probably go back and do one I hope.

I was stuck in the benefits of being a known comedian.

It's really important to me to keep growing and keep finding new things.

I think probably, the makeup artists don't really know how long it's going to take until they really work with your face and they kind of mold it and build it as they're going along.

Of course it's difficult to turn anything down when Mike Nichols calls you personally.

I really believed that if I could play that character, who is grounded in the earth and the history of the United States - not the kind of role I usually play - it would help me change the perception out there and my own perception of what I can accomplish as a performer.

I started out in summer stock, and that's really what I prefer.

My best film composing experience was with Elia Kazan.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

To make a documentary is one thing, to make a feature film is quite another.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

Robert Altman's Nashville is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.

I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.

I have a movie coming out called Spun, which will be at the Toronto Film Fest.

Well ironically my last three roles have all been a mother. One was a Canadian film where the baby was taken away because she is a drug addict, in Irish Jam I play a mother to a four year old. I think in the future I'll be able to handle the role with a lot more depth.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

A good film script should be able to do completely without dialogue.

My advice to young film-makers is this: don't follow trends, start them!

The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.

It's really rare for film directors to be that interested in things other than themselves.

When I said I was going to audition for a film, I got a hearty laugh from all my family.

I don't think any actor feels comfortable watching themselves in movies. You must be very narcissistic. The problem with your own opinion of yourself is that contrary to the normal spectators, when you watch a film you are in, you only watch yourself.

We're making a commercial Hindi film catering to all types of audiences.

They all matter to me, whether I'm working on a Sam Jackson film for a week or I'm the star of my own TV series - I take it all very seriously, and I have a healthy respect for the work in general, despite the role.

There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!