I've been lucky in my career. I've worked with some of the greatest filmmakers and actors around. I'm so proud of some of my work.

'Hester Street' was my most complete character study, but 'Annie Hall' and 'The Last Detail' were also great.

All of my films have changed my life. I've met so many people and broadened my world view.

I try to construct some kind of backstory for my character so that I have an idea of the life of that character - not just from the moment when the scene starts, but from before.

If I had the science and math capabilities, I would have liked to be a vet, but I don't! I don't have those capabilities.

'Hester Street' was an incredible opportunity for me. That script was such an incredible script.

For me, the most important thing is the writing - and certainly the director. But if the writing isn't there, it doesn't matter who the director is!

I don't like somebody saying to me in their performance, 'Look at this. Isn't this funny?' I pray that I don't do that. I'm sure I fall off the horse every once in a while, but I try not to.

In my job, I worry a lot and try and stay calm and open. It sometimes works.

In high school, I did the 'The Tempest' at Lincoln Center for Joe Papp.

I am a very simple cook, I just do the minimum amount. I'm mostly a vegetarian, so I just steam a lot of vegetables.

When I had my dogs, I used to spend a lot of time in Central Park, which is a great place to be alone among a lot of people.

If I had not made strategic choices, I would have had far more access to dramatic roles. But the one thing I don't regret, even about bad choices, is that there's always something you can get out of it.

I don't regret what I've done but some of the things I didn't do.

In my experience, each project is what it is, and nothing is necessarily a turning point.

There's nothing obvious or predictable in acting. That's what it means to be in this profession.

New York, to me, even though I grew up here, there's something magical about it. I remember, every time I used to go to L.A. for work, when I'd come back and get off the plane and be driving towards the landscape of the city, I'd be beside myself with joy. It doesn't matter how many times!

I think therapy can be very revealing and useful for actors. You start to dig deep and understand certain mechanisms that you hadn't been aware of before and, you know, meanings behind things.

I just love the black and white movies.

You just can't make bad writing look good. But if you have good writing, you just say it, and it's almost done.

I didn't know I wanted to go into entertainment, but I knew I wanted to be on stage when I was about seven. I saw a play, like most kids do, at a children's theater in Cleveland, and I just saw them up there, and I thought, 'that's where I want to be.'

My preference is for really good writing, and I just really don't care where it is.

You can fake a lot of stuff, but you can't fake if the story isn't there and if the writing isn't good.

I guess I'm lucky in that I started working very young in all three of the mediums. I started in stage first, and then I moved into film, also very young, and when I did 'Taxi,' for instance, it was live in front of an audience but also filmed; that was a fun combination.

I don't like to objectify the people I play. I always try to go for the truth in any part.

I was taught by a lot of great comedy writers to go for the reality in a role, and the comedy will come through.

I think most actors are very impressionable, and that's part of what we do is soak up other's behavior.

Buses and subways are this remarkable social club. You talk to people you wouldn't normally talk to.

I'm a lot of things but not a liar or a phony, even when I know it's in my best interest to be.

Life is an overwhelming bundle of loose threads. The ones you can hang on to are precious.

The three kinds of people I dislike most are Gossips, Liars, and Hypocrites.

Life is a marathon and you have to pace yourself. I believe that slow and steady wins the race, so in that way, I've been training for a marathon my whole life.

Only children believe that apologies fix everything.

Blogs are nothing more than a personal meandering diary for public consumption - a narcissist's dream. So you can imagine when bloggers take themselves - and their blogs - seriously, it's super annoying.

Age-shaming women is abhorrent.

News flash: A girl's girl doesn't try to shame another girl about her age.

I may not have inherited wealth, but I have some inherited humility.

I was definitely not one of the cool girls in Suffern High School.

The rumors of Radziwill fortune have been vastly overstated.

I read somewhere on the Internet that I have $50 million, and I think what they meant was 50 million pesos.

I don't consider myself part of the Kennedy family. It's almost like a little point of honor. I'm a DiFalco at the end of the day. An Italian-American from upstate New York.

I never call myself a Kennedy cousin. In fact, when I signed my contract with Bravo, I made it very clear that they were not allowed in promos to refer to me as a Kennedy cousin. I'm not that person. I don't feel it.

You can call someone a lousy writer. You can say you hate their book. You can even call a person 'white trash' but you can't go on television and slander a person's career. It's illegal, even on reality shows.

I didn't marry into the Kennedy family, I married Anthony Radziwill. I'm proud of him and his family, the Radziwills. They exist, they're real, and they are separate from the Kennedys.

I am very close to my mother-in-law, Lee, we see each other often.

Publishing is a tough business.

I'm nothing if not consistent.

It's common procedure in the industry for people with little or no professional writing experience to get a book deal because of their profile, and then hire a writer.

It is a truth universally acknowledged that a delusional Housewife in possession of an audience must be in want of a ludicrous storyline.

A girl's girl doesn't trash another girl's career.