When they tested Fatal Attraction, the audiences were so upset by her behavior, they literally demanded her blood.

There's something about a catharsis that is very important.

Ismail Merchant was just the most seductive, passionate, outrageous, driven, genius of a man.

It puts you in a kind of a strange situation where everybody is looking at every little thing you do.

I've been sacrificing my life for my work for 30 years, and now I want it the other way around. I want to find work that fits into my life and that would be based here.

I don't like public venues. I never know what to wear.

Bunny boiler is now part of our language, and I'm proud of that.

We were fortunate enough to have several good books detailing the camps and the women. Some were by the survivors. I also got to talk to some of the women who had been in the camp, survivors.

There are a lot of big spec houses now all across Connecticut, a lot of ostentatious showing of wealth.

Good roles are hard to find no matter what age.

I think the diva is kind of a cliche. My definition of a diva is somebody whose talent does not match what they're trying to play, so all this temperament comes out.

The best thing I have is the knife from Fatal Attraction. I hung it in my kitchen. It's my way of saying, Don't mess with me.

We have to be vulnerable as actors, but we have to protect ourselves.

I don't think the tabloids find me very interesting.

I knew the term Stepford Wife, and I knew what that meant. I never read the book, and I think before I started filming I watched the movie. I thought it was very dated.

I never got into this business thinking I'd be like a movie star.

I get bored talking about myself, but I can talk about the work.

Acting, to me, is about the incredible adventure of examining the landscape of human heart and soul. That's basically what we do.

I had a great time on The Shield. From working on it I have a totally different view of law enforcement.

With the hugely talented women I've worked with or observed, it's not a question about temperament or ego; it's a question about getting it right. If they've got a reputation for being difficult it's usually because they just don't suffer fools.

I am extremely shy. I am not happy in crowds of people.

Celebrity is death - celebrity - that's the worst thing that can happen to an actor.

It's not good to be in a situation where people don't want to direct you or don't want to question something.

You have to love the characters you play, even if no one else does.

I'm an actor, that's my contribution.

When I hear that somebody's difficult, I think, Oh, I can't wait to work with them.

It always amazes me to think that every house on every street is full of so many stories; so many triumphs and tragedies, and all we see are yards and driveways.

It's gotten out of control. It's taking bigger and bigger names to make smaller and smaller films. I worry that important films without a big name attached won't get made at all.

I think there are certain actors that have that kind of energy about them, that taking over a room energy.

It is very difficult for girls. They're told to look one way, but to act another way.

As an actor, I go where the good writing is. That's the bottom line.

I had a dresser who literally squeezed me in like Scarlett O'Hara in Gone With The Wind.

When they tested Fatal Attraction, the audiences were so upset by her behavior, they literally demanded her blood.

Diva has a negative connotation.

Be aware of your inner voice and follow it, even though most of the time it will tell you the most uncomfortable path to choose.

What's so fascinating about people is what they don't show. People are masters at it; usually actors show too much.

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

I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.

Audiences always sound like they're glad to see me, and I'm damned glad to see them.

What I wanted to do was to get that sense of being in touch with this lost world while holding onto what draws readers and audiences there in the first place.

We make films that we ourselves would want to see and then hope that other people would want to see it. If you try to analyze audiences or think there's some sophisticated recipe for success, then I think you are doomed. You're making it too complicated.

Sylvester has a great popular sense, as good as any writer I've ever worked with. He knows what audiences want to see, and what they don't want to see.

Phish and Dave Matthews really know their audiences and really treat them well.

We were tremendously encouraged by the testing of Analyze That. Audiences loved it. They were telling us that they liked it as much as the original. We recorded the laughs in the theater.

Anyway, I collapsed in France in the middle of a tour. I hadn't been eating properly, I was getting very phobic about audiences, and I collapsed in pure fright.

Though I am still very vulnerable to audiences - and it happens all the time - where for some reason the energy doesn't connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.

I don't pay attention to target audiences and therefore I often hear that I am a ratings killer, somebody who fundamentally doesn't care whether one person is watching or an entire soccer stadium.

I want to do what I want when I want to do it not be dictated to by audiences.

I also want to return to doing stand-up. I've become frightened of live audiences. This is a really telling sign that I need to go back on the comedy circuit again.