When I started in the theater, I'd do plays by Shakespeare or Ibsen or Chekhov, and they all created great women's roles.
When I watch my kids, and I see the primal level at which the sibling relationships are formed, then I completely understand what these unresolved adult sibling problems are based on. You know, 'Mom liked you better' and, 'You got your own room and I didn't.'
A lot of directors in my experience are very receptive. They see what you do first, and then they want to find a place to put the camera, and they tweak you here and there.
Critics have a responsibility to put things in a cultural and sociological or political context. That is important.
Right now, I love the fact that I have so many opportunities, but I know this privileged position cannot last. That doesn't mean that I'll stop working. I picture myself as an old actress doing cameos in films with people saying: 'Isn't that that Bening woman?'
I think you sort of shed skins as you go along in life. You get into your 40s, and you feel like, 'OK, no more pretending.' You get to just be who you are.