I like people to have their own reaction and their own take on things. And I don't like to shove my - what I want them to feel or think - down their throats. I like people to say, 'What was that about?' or 'Why did that happen?' And so, any reactions are welcome.
Sometimes when I'm in the car driving, I scream at the top of my lungs.
I've been adapting ever since my oldest had her first play date with a boy, and I was like, 'That's not normal,' because I came from the old school. Now boys sleep over at my house. It doesn't matter which girl, which age.
I love that, 'mommy-shaming.' When I was a new mom, I was obsessed with how I was being perceived and trying to fit in as a mom, going to mommy-and-me classes and things like that, and never quite measuring up to 'the real moms,' the 'robot moms,' as I called them.
Before 'Lucky Louie,' nobody would ever cast me to play a mom or a wife; nobody ever saw me in that role, which is weird, since that's who I really am.
When I saw 'Louie' and 'Girls', I was blown out of the water. They were fearless portrayals of real life. Everyone has a different experience.
My roles in the '80s were, like, gender dysphoric. I wasn't pretty, I wasn't this, I wasn't that. And I am kind of butchy, you know. That's just my thing.
For me, running a set and directing has been the most rewarding thing of my life and a happy surprise, because it was never really on my radar.
I don't usually say 'working mom' because I think all moms are working moms. I feel like that diminishes moms. People should say 'working dad' as opposed to working moms.
When you hit your 40s, you're walking around, and you realize, 'Oh, my God, men don't look at me anymore.' Or sometimes you can feel really good, and then you look in the mirror, and you're like, 'Oh, Jesus, that's my face now!' But I have tell you that something happened and shifted inside of me.
I'm very influenced by documentary filmmaking and independent filmmaking, by a lot of noir and films from the '40s. Those are my favorite. And then, filmmaking from the '70s is a big influence for me.
Sometimes when I'm in the editing room and there's a new person there, like a music editor or a post person that I don't really know, I'm like, 'Oh, you shouldn't be in here. This is too personal - you can't watch this.' But then I'm like, hey dummy, you're about to show this to the whole world.
I never want to waste a frame. I always look and see what I've got.
Wouldn't it be funny if I were a total nightmare? If I just shot 21-hour days and went over budget? But, you know, it's something I'm really careful about, because I am a mom, and also, I'm an actor. I'm a pleaser: I don't want to take up too much of people's time.
I went from buying my own condominium and a car for myself when I was 17 on 'The Facts of Life' to not being able to pay my rent. I was at the unemployment office all the time. I had to sell my record collection just to make ends meet. And then I started getting these voice-over jobs.
Being a mother is the ultimate training ground for anything.
Cooking is the best occupational therapy for me. And when I cook, everybody comes to eat. It's the greatest thing.
The first thing that I ever made was a documentary that I shot... in downtown L.A. about a group of homeless people.
If I'm doing a voice-over session, like animation or something, and I'm doing three different voices, you've gotta separate them. You've gotta find the different places and do your different things.
Everybody hates you when you're the best, and everybody hates you when you're the worst.
