Film, I think, is my medium.

I'm one Pia Zadora, the same way all the time. That's why I'm happy. It took me a long time to get to the point where could be myself all the time.

Because a lot of straight people think I'm nuts.

I love John Waters. You see, I want to be the next Divine.

But there's not enough time in life to go sit at a party, have a drink, and make idle conversation. There's too many important things to do. Just being together with my husband, spending time alone, which I have very little of.

The thing you do is escape from them by immersing myself in the character you're playing.

Butterfly was certainly a vehicle for me, and if it died, it still would have served its purpose, in spades. We never expected it to give me the visibility it has given me. It was just a small thing as a vehicle, and suddenly the whole world knew about it.

I actually started singing those songs six or seven years ago, when I was an opening act for Frank Sinatra.

I have a funny name.

Then I went through a whole bunch of crap with my lousy movies and pop records. I had people behind me kind of steering me in that direction, but it wasn't really my bag.

And I like the way Cain writes his women. Very strong. They're kind of lusty, they know what they want, they're full of conviction. Cain's women are sexual.

I don't like to go to the movies to see violence or some kind of spy thing with all kinds of information you have to assimilate to understand the plot.

I don't consider myself a sex symbol.

I'm gonna give them the advice that I always took myself, that it's better to get to know somebody before you jump into the sack with them. Because then if you jump into the sack and fall in love, and you liked them already, you're home free.

The reason we shot it was that the script was geared to Las Vegas and it was something commercial that we wanted to have in the can in case Butterfly was a success and we needed a follow-up.

I'm just not comfortable with that society stuff. I mean, we were just invited to the White House, but my husband won't take me because he knows I don't want to go.

The future comes quickly. Before you know it, you turn around and it's tomorrow.

Basically, I'm a romantic.

In a way, my past gives me a little credibility. Not that anybody cares what I did nineteen years ago, but I did have a career, and a legitimate one, before I met my husband.

You know, it was important for me to do something like that, because nobody ever really thought I could do anything except look sexy on a poster and go shopping.

Film, I think, is my medium.

If you have a guy like Jermaine, it's a pain in the neck. When we were on the road together in Europe, Jesus, I had to kick the girls off of him. I mean, they throw themselves on the floor and take off their hats.

When I was 21 I stopped and got married. I tried for a while to be the perfect wife, society this, society that but it wasn't working, so after about a year I went back to work.

You know, it's not the people in Hollywood who go to see movies that will make a movie successful; it's the people all around the country; it's word-of-mouth.

I like to see love stories: romantic comedy or romantic drama.

A lot of straight people think I'm nuts.

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.