Citas

(2011, on Swingtown (2008)) Now, that's one project I really would've liked to have seen go on, because I loved doing it, and I also felt it was about to get really interesting. We've worked our way through the "to swing or not to swing" blah-blah-blah, and I think if that show would've been allowed to live, what it would've explored was the liberation, for lack of a better word, of both the women and the men. They were coming into their own. At its heart, that's really what that show was about. I think that's where it would've gone. There were ideas that she was going to go to college and end up at the same college as her daughter. There were many things about that show I loved. I'm interested in characters who go through some kind of rebirth, that we get to watch and see unfold. I think television, at its best, allows for that much more than film does. It's a longer format, more plot-heavy and character-based, and it allows for this unfolding of a life. I loved "Swingtown" for that. I thought it could have been wonderful. But y'know, it was just in the wrong place.

(2011, on Deadwood (2004)) We shot on this ranch where they shot A la hora señalada (1952) and some Elvis Presley Western. Gene Autry's ranch. From where I live, I would take the 210, which is this freeway in the foothills above Los Angeles, and it's really, really beautiful, and pretty deserted. By the time you'd get to Santa Clarita, the studio itself was all that was there and, by the last season, we had four or five blocks of Deadwood built. Sometimes, I would go to work at 4 a.m. and it would be dark, and you would walk down the center of the street when nobody was around, and there were these white owls that lived up high in one of the sets, and they would be swooping around. You'd feel transported. And the costumes... our costume designer, Janie Bryant, who went on to do Mad Men (2007), it was her first big thing, and she was young, and so talented, and she made the most incredible costumes for me and for everyone. Plus, the guys were just filthy dirty all the time. The place smelled. We shot it in the summer, and we had real animals there every day. By the third season, that place stank. I was pregnant in the third season, so I have particularly strong memories of it, because when you're pregnant your sense of smell is exaggerated. Awful, just awful. So you could get a sense of being in the lawless place. In a corset.

[2011, on Trigger (2010)] It was a gift; just a gift. It was a profound experience. Hard to talk about, almost, without sounding reductive, because it was amazing, really sad, really moving. On a personal level, it offered me an opportunity to work with my friend, and this woman who I really admired and respected. I knew the whole time we were doing it that these were the last moments I would get to spend with her, so that brought a kind of present to the making of that movie. On a more personal, creative level, because we pushed the movie into production very quickly, knowing Tracy was sick-probably a year earlier than we had anticipated-we shot it in probably nine days, over five consecutive weekends, and it was sort of crazy. I've never made a film quite like that. I hadn't worked on that indie level in a long time. It was so great and so fun to be unconcerned with the outcome, but just to be able to be free. It was a real joy, on many levels.