I never have broken up in comedy, ever. There’s something about me that I just don’t break on camera – maybe because I’m just so cheap, and I know how expensive it is to shoot – but I broke on Sordid Lives, and I broke on The Office. Those are the only two times in my life.
I had this great teacher, Milton Katselas, who was this loud Greek who had directed Bette Davis and Liv Ullmann, and brought Edward Albee to this country. He said, “Why do you keep trying to be a Rolex watch when you’re the salt of the earth?” Except he said it much louder.
My agent says, “You have an audition for the next Dustin Hoffman movie, playing a pioneer woman.” And I go, “All right!” I passed Barry Levinson in the hall on the way into my audition, and I saw him do a double-take. I think I looked so determined that I got the job right then.
Maybe the actors that used to turn down William Goldman’s scripts – where he wanted them to stretch and grow, and he was mad at ’em, and said, “Why won’t they be a real actor?” – maybe they just knew their audience. It’s too bad.
Tone is a very difficult thing. You can’t write tone, I don’t think. You can try – you certainly try. I write too, so I know I’m trying desperately to communicate to whoever’s going to direct my pieces, the way I see the humor. But it’s very difficult.
I’d much rather insult people and make ’em angry. Donnie Darko’s very controversial. Not all of my friends like it. Honestly, it’s almost become a test for me. If somebody says they don’t like Donnie Darko, I think, “Oh, I don’t know you as well as I thought I did.”
I had a very hard time accepting myself as a character actress, because I wanted to be glamorous and a leading lady like everybody else. I looked in the mirror and thought I looked pretty good, but casting didn’t ever see me that way.
I knew Steve Carell because of Little Miss Sunshine, so I felt very comfortable with him. Maybe he always does it to guest stars, but I felt as though he was being particularly funny with me, and particularly stretching the boundaries of improvisation.
At Rain Man, I was 38. And before that, I had really just started working when I was 36. I was very late. So I’ve got time, right? As long as I stay healthy and eat right.
There’s always that key to every character that lets you go to those places you need to go to. No matter how much you might hate the character, it makes you understand it.
I grew up around people, so I know ’em, and I do like playin’ ’em. I’m not religious, but I am kind of a spiritual fanatic, so maybe I understand them in that way.
