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Yale? I was at Yale on a scholarship.
Frances McDormand
With aging, you earn the right to be loyal to yourself.
I'm not a depressive, but I certainly have mood swings. It's an occupational hazard, I would say, and I'm glad I'm in the occupation I'm in.
A 90-minute time frame is not long enough to tell a good female story, and that's why long-format television has become so great for female storytelling and for female performers and directors and writers.
I am not a director or a writer, but a filmmaker.
KWMR is my radio station, and I intend to have a job there as I get older. That's what I'm lobbying for. They don't need me. They've got plenty of people. But let's see if I can make myself indispensable.
My father was a minister, and it was more my mother that had the responsibility of making sure the family put out an outward of appearance of living what he was preaching. She was the PR.
You can't make a rule about it. The minute you make a rule, it's like putting your wedding pictures in 'In Style' magazine - you're divorced.
I tried taking a year off when Pedro was a toddler because I really wanted to be around, but it wasn't good for any of us.
I'm really interested in playing my age.
The crew on 'Three Bilboards', by the way, is one of the best I've ever worked with. And that's not hyperbole.
We are on red alert when it comes to how we are perceiving ourselves as a species. There's no desire to be an adult.
It's much easier to play supporting roles because that's what I do in my life: I support my son.
I've always known that I'll have a career for the rest of my life because they'll always make movies about men, and men need women in their lives. But, when it comes to telling a woman's story, they're complex, circular, and not genre-driven.
In my theater work, I've had much more three-dimensional, broader-stroke characters.
I will go to my grave being known as Marge Gunderson. It'll be on my gravestone if I have one. I don't mind that, because it was a great character.
I can't do the frappuccino. It's too sweet. I need it straight.
My position has always been that the way people age and the signs that we show of aging is nature's way of tattooing. It's natural scarification, and the life you lead gives you the symbols and the emblems of your life, the road map you followed.
Unless it's a flat-out farce, an actor can't play comedy on film.
Growing up a preacher's kid wasn't the easiest thing. Everybody's always watching you to see how you'll behave - or misbehave.
Even though I'm an actor, I've gone to productions where there has been someone whose work is known in film, and you can't take your eyes off them. It unbalances the production. Whether they're good or not, it doesn't matter.
People love to drop in 'you betcha' as often as they can.
I want to be revered. I want to be an elder; I want to be an elderess.
I've made a professional reputation playing working-class, middle-class, American women. There's a real sense of stoicism and pragmatism and strength and lyricism of a woman like that.
No actor has complete freedom.
At least three times a week, I'm approached by someone who says something about 'Fargo.'
My politics are private, but many of my feminist politics cross over into my professional life.
The last scene in 'Moonlight', that's one of the most extraordinary things I've ever seen on film in my lifetime. You see two men showing such tenderness towards each other. And it's bold; it's deep. It's complex. It's profound.
I have not mutated myself in any way.
I've got a rubber face. It has always served me very well and really helps, especially as I get older, because I still have all my road map intact, and I can use it at will.
I've given just as much of my life to that, and I practiced it with the same zeal, as I have acting. And I think that many of my skill sets from being a housewife I used for producing. Because you don't stop until it's done.
I've never been someone who needs a lot of takes or enjoys a lot of takes. I like the fast thing of it.
Female characters in literature are full. They're messy: they've got runny noses and burp and belch. Unfortunately, in film, female characters don't often have that kind of richness.
I'm not an actor because I want my picture taken. I'm an actor because I want to be part of the human exchange.
I like being my age. I kind of have a political thing about it.
We don't need a lot of initiatives for women in film; what we need is money.
Here's what I have at my advantage: I've never been a personality. I've always been a character actor.
A movie set actually can be a good place to have a family atmosphere.
I swear a lot; I always have. So does my husband. Our son, surprisingly, does not swear much at all.
I haven't done much press for many reasons, but mostly because it's not an interesting dialogue about work that's been done. It's turned into something else. It's become this ridiculous other thing.
I read books. Remember those? I read them, on paper.
All the skills of housewifery are the ones I'm using as a producer.
I wasn't into sports, but I was really into Shakespeare.
Cinematic icons of the police detective are more male role models than female.
I buy books, I have shelves of books. I love to read.
Unfortunately, any girl - unless you're playing the action hero - is going to end up at some point handcuffed, gagged, and waiting for the hero to save her.
I think that ageism is a cultural illness; it's not a personal illness.
In comparison to other women in the world, perhaps I'm seen as smaller. But I've never had a problem thinking of myself as a large woman.
The only power you have is the word no.
It's kind of a subversive act to tell a story of a woman past a certain age, to develop a four-hour movie based on a marriage and a story of two people past middle age.
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