We appreciate quiet living. It's not exactly a Hollywood way of life - I couldn't stand living out in Hollywood because you can never escape from the business. All people ever do is talk about movies. At least in New York you can have some other 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.
When you lose a spouse, you're a widow or widower; when you lose your parents, you're an orphan. When you lose a child, there's no word in the English language for that position, that place that you're left.
My son smelled like a cinnamon bun, and that smell entered into my biological being, and it became an imperative that I keep him alive at all costs, so then there's this monster - this tiger or lion - that comes forward in you to protect them. And it doesn't stop. It doesn't matter if they become men or women.
Because of my own insecurities about the way I look, I do sometimes sabotage the looks of my characters by making them as homely as possible. I've never done a glamour part. I'd like to some day, though I don't know if I could pull it off.
I think awards are good for the movie. They can bring a new audience to the movie. I've always claimed that things like that don't get you work. Work gets you work. That's my blue-collar, protestant work ethic.
I was often told that I wasn't a thing. 'She's not pretty enough. She's not tall enough. She's not thin enough. She's not fat enough.' I thought, 'O.K., someday you're going to be looking for someone not, not, not, not, and there I'll be.'
I went to my school careers counselors and said I wanted to be an actor, and they didn't know what to do. They showed me catalogues with pretty campuses and said, 'Oh, look, there's a theater building. Why don't you go there?'
I think that there's a clinical mental illness called depression, but I believe that post-industrial America has been narcotized by progress. There's a cultural malaise - mental illness or no - that everybody suffers from at some point in their life.
I learned how to read in second grade, and I entered a summer contest at my local library in Chattanooga, Tennessee. If you read more books than anybody else, you got your Polaroid up on the bulletin board, and I did.
My name is Frances Louise McDormand, formerly known as Cynthia Ann Smith. I was born in Gibson City, Ill., in 1957. I identify as gender-normative, heterosexual, and white-trash American. My parents were not white trash. My birth mother was white trash.
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.
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.
It was really fascinating for everyone involved in 'Fargo' that Marge Gunderson became the iconic character she did. I think it was something about the cultural zeitgeist and what was happening with women in the workplace.