I consider all my films experiments.
I read Stephen King a lot and I've actually played two roles. Delores Claiborne is my favorite, I think, of any film that I've done.
When I was in New Orleans, I was in a grocery store and a woman came up to me and she said, "Oh, my daughter's such a big fan of the show. " And I said, "Can I meet her?" And around the corner came this seven-year-old. I was horrified and I almost said to her, "Lady, what are you doing? [American Horror Story] is not for seven-year-olds, I can tell you. "
My 14-year-old grandniece is not allowed to watch 'American Horror Story' yet.
The relationship to the director is becoming more crucial to me, making sure there are some common goals. I haven't been in the kind of position where my roles have been chosen for me, where someone says, "First we'll do this and then we'll do this," and it's all part of some master plan.
The thing that I've run up against is that it's always been an either-or proposition, especially in Hollywood. You're either young and glamorous and you're going to get the lead and get the man at the end of the picture, or it's the opposite: you're a character actress, you're not attractive enough for the other role, and so you're playing the friend or the killer or the lesbian or the doctor or whatever.
I've always tried to be honest, and it would be too difficult for me to develop some kind of persona. I don't have enough time or energy for that.
We do not see nature with our eyes, but with our understandings and our hearts.
You men of the einsatzgruppen are called upon to fulfill a repulsive duty. But you are soldiers who have to carry out every order unconditionally. You have a responsibility before God and Hitler for everything that is happening. I myself hate this bloody business and I have been moved to the depths of my soul. But I am obeying the highest law by doing my duty. Man must defend himself against bedbugs and rats, against vermin.
We can think, speak, and bring the best possible outcome into existence by focusing on where we are going, not on where we think we are.
The Iraq war is a huge subject and there have been many films about it. But it was when the private contractors started taking over and taking responsibilities from the regular army, which hides the war. You have these private armies of mercenaries acting with immunity for their actions, the worst of which was the Blackwater case where they killed 17 Iraqi civilians and the guys who did it just went home. We [screenwriter Paul Laverty and Loach] felt this deserved a story.