And this, incidentally, is my thumbnail sketch of American marriage: A woman sees a man; she likes him. Now she jumps on this thing and rides it to some kind of standstill. Then she changes it and trains it, and to the exact degree that she's able to do this, she disrespects him.
When I come up against a director who has a concept that I don't agree with, or maybe I just haven't thought of it or whatever, I'd be more prone to go with them than my own because I want to be out of control as an actor, I want them to have the control, otherwise it's going to become predictably my work, and that's not fun.
You know, I think I understand what you're like now. You're very beautiful and you think men are only interested in you because you're beautiful. But you want them to be interested in you because you're you. The problem is, aside from all that beauty, you're not very interesting. You're rude, you're hostile, you're sullen, you're withdrawn... oh, I know- you want someone to look past all that at the real person underneath. But the only reason anyone would bother to look past all that is because you're beautful. Ironic, isn't it? In an odd way you're your own problem.
The way I reacted to 9/11 was I decided I didn't want to do any movies that are sad or critical. I decided I didn't want to make my living depressing people or making them go home sick, so I just decided I wanted to do comedy for a while and study it for a while. It doesn't mean everybody should do that, but that was my reaction.
I've never lost a friend over work. I come from a small-town environment and I remember my childhood impressions that, if you were a conniver or a fink or whatever, everybody knew about it and you were a louse for the rest of your life. So I never lost those values in some way.