Altman works in such an interesting way, letting things occur in the film even if he didn't particularly plan them.
As I became very defined in my personal politics, I turned down some films that I slightly regret now; I'm not going to say what they were.
Children can only take so much, and they deal with it however they can.
Early on, I found the attention completely embarrassing. I'd cringe if I saw my picture on the cover of a magazine.
Happiness is the absence of suffering. I think it's an interesting way of looking at it. I think the absence of suffering exists very rarely in the world we live in.
I basically put myself into directors' hands and let them tell me what to do, and the more they told me what to do, the more I liked it.
I certainly feel a joy in being alive that is sometimes quite overwhelming, but I feel terrible grief at the same time.
I couldn't grasp the reality that I was in some way being singled out and given these jobs. I thought I was just going to be a stage actress. The idea of stardom never occurred to me.
I did things like Shampoo and Heaven Can Wait. I don't know what those films were about. The women I played in them were not very empowered.
I didn't think I could act, and I didn't know how to work on it.
I don't think I would have been a good mother. Being a parent brings immense responsibility. It's a Herculean task. It would be almost too much for me.
I have only just started to approach being a serious actress.
I never will have peace of mind. I'm not constructed that way. Some things in life can be horrible.
I only lived in India until about the age of 6. We obviously had nothing like television.
I realized I'd been living in a vacuum in America. So that's the kind of culture shock I got.
I realized if I was going to speak publicly as an actor, then I had a responsibility to talk not only about myself, but about things that I believed were being lied about.
I regret that I wasn't the kind of person who could enjoy celebrity. It embarrassed me too much.
I remember becoming aware of women's issues and inequality. It became glaringly clear to me when I was living in America that women are regarded as less intelligent than men.
I see stardom very clearly as a construct that's been created in order to sell things.
I started noticing how stained the pavements are in London. The pavements in Beverly Hills aren't used; in London, they're used for everything. It doesn't matter how much they're cleaned, they still reflect light.
I think I was probably being too nitpicky. But that's how I was. I couldn't have been otherwise.
I think I've got something when I'm onscreen, but that's nothing to do with acting or talent.
I was born with a need to be the center of attention, and, of course, you're the center of the world when you're acting.
I was pleased we still had shops in England instead of supermarkets.
I was surprised to see people in England wearing clothes that didn't look as if they'd just come from the dry cleaners but as if they might have been worn for more than one day.
I was utilized because I have a certain face that works well in cinema, and I'm used to making myself look as good as possible.
I'd never been content in America.
I'm not going to let my hair go gray and walk around with a shopping trolley.
I'm not in the advertising business, but I think it would be very nice if people went to see the film Hamlet, because it was made with love and integrity.
I've never quite understood why people marry; marriage is just an invented structure.
It interests me to get down to what is nearer the truth by chucking away a lot of the garbage and seeing what we're actually dealing with.
It takes me time to realize things; I'm a speedy person but a slow thinker.
It's quite hard for me being an actress because I actually don't like attention.
Living in America, I became aware of many issues and went through a period of politicization.
Men don't want any responsibility, and neither do I.
Most of the time I spent in America, I was having a love affair with some American or other. I was just passing through but stayed because of these chaps.
My family is all dead now except for my brother.
My family said that I wanted to act even when I was a child living on a tea plantation in the jungle in India.
So often people think, when they read an interview, that they're going to be touched by that person. The person is doing it because they're trying to sell something.
Some people enjoy celebrity. I admire those who do, because if you're going to go through it, you might as well enjoy it.
The '70s was a lost time for me. I looked at different religious or spiritual leaders. I read a lot of books with a Buddhist background.
The actual work wasn't something I was personally involved in, except in terms of the terror I felt.
The English in India used to hire tribal girls as nannies, and they would bond very deeply with their little white charges.
The little things that made up the fabric of the first six years of my life were suddenly ripped away, and I didn't have anyone around me who loved me. Not one single person.
The status quo and the media is doing everything it can to fry children's brains and make them grow up maladjusted.
The world of ecology, the idea that every single thing is related to everything else and that everything anybody does has an effect on the world-I began to see the world in a way I hadn't before.
There were some films I refused because the feminist aspect was a bit wonky.
What did enrich me were the places I went to make the films, because I feed off external stimuli.
What I did initially was, on the whole, literary and romantic.
When I came back to Britain, I realized that I was no longer a very young woman. I had to meet my new consciousness, my new age, with roles that reflected it somewhat.
When one relationship was breaking up very unhappily, and there didn't seem to be another one around the corner, I went back to England.
She signed for the female lead in American Gigolo (1980) when Richard Gere was expected to play opposite her. However, she dropped out when Gere was replaced by John Travolta.
Julie turned down one million dollars to play Liz Cassidy (the Jackie Kennedy Onassis character) in The Greek Tycoon (1978).
Julie turned down the lead in They Shoot Horses Don't They? (1969) and Anne of a Thousand Days (1969). The parts both gained Academy Award nominations for the actresses who got them, Jane Fonda and Genevi?ve Bujold.
Charlton Heston wanted Julie for his movie The War Lord (1965), but the studio refused to pay the fee her agent held out for.
One of her more recent roles is as Madame Rosmerta in Harry Potter and the Prisoner of Azkaban (2004).
Her current partner is Duncan Campbell, a British journalist who works for The Guardian of London.
Julie's first break was in a BBC science fiction television show, A for Andromeda. Only episode six and a few other fragments survive.
Julie was born in Assam, India, where her English father ran a plantation.
Julie won an Academy Award (Best Actress) for her part in Darling (1965), and received another Academy Award nomination for McCabe and Mrs Miller (1971).
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