Long-format television is a better way to tell a female story.

I am not a director or a writer, but a filmmaker.

I read books. Remember those? I read them, on paper.

I buy books, I have shelves of books. I love to read.

I have a very short attention span.

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.

Guess what? I am an ordinary person.

Female characters in literature are full. They're messy: they've got runny noses and burp and belch. Unfortunately, in film, female characters don't often have that kind of richness.

In comparison to other women in the world, perhaps I'm seen as smaller. But I've never had a problem thinking of myself as a large woman.

I think that ageism is a cultural illness; it's not a personal illness.

I think that cosmetic enhancements in my profession are just an occupational hazard. But I think, more culturally, I'm interested in starting the conversation about aging gracefully and how, instead of making it a cultural problem, we make it individuals' problems.

It could be partly my taste. It's just my belief that there are female characters that will benefit from not being vulnerable.

There's something healing about tears.

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.

I'm not really interested in promoting 'Olive' as a series about depression or mental illness.

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.

I'm really interested in playing my age.

I like being my age. I kind of have a political thing about it.

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.

We wrote 'Olive Kitteridge' as six hours, and they asked us to make it in four.

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.

My father was a minister, and it was more my mother that had the responsibility of making sure the family put out an outward of appearance of living what he was preaching. She was the PR.

I never read books - and still don't read books - to develop them.

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.

I've got a rubber face. It has always served me very well and really helps, especially as I get older, because I still have all my road map intact, and I can use it at will.

If you take it as a compliment that you don't look your age, then you're really shooting yourself in the foot.

There is simply too much of my life that is involved in my work that I couldn't replicate in any other way.

I tried taking a year off when Pedro was a toddler because I really wanted to be around, but it wasn't good for any of us.

My feminist training was that this was your goal, to be a self-sufficient woman, but that is a miscalculation. It's just not the way we work. We work in dialogue with the community.

I'm attracted to male gestures and sexuality.

I've never been someone who needs a lot of takes or enjoys a lot of takes. I like the fast thing of it.

I love flying by the seat of my pants, going at something instinctually.

You can't make a rule about it. The minute you make a rule, it's like putting your wedding pictures in 'In Style' magazine - you're divorced.

At least three times a week, I'm approached by someone who says something about 'Fargo.'

If, when I leave this earth, I'm remembered for 'Fargo,' so be it. But I think old Marge Gunderson is gonna get a run for her money with Olive Kittredge.

People love to drop in 'you betcha' as often as they can.

People outside of tennis, all the famous actors and everyone, knows Wimbledon.

I want to take initiative; I know my game and I know what I need to do to win.

When I met Jay-Z and Beyonce I was in awe, stuttering like crazy. This guy grew up in the projects and he and Beyonce are a billionaire couple. The empires they've built, affecting so many lives, is unbelievable.

Obviously, maturity helps, knowing that you definitely have to make every day a good day. If not, somebody else is out there putting in the work.

As far as myself, I want to see myself hold a Grand Slam, be at the top of the game.

I know it's a cliche to say, 'There isn't anything you can't do if you believe,' but that's something I subscribe to, even if it's corny.

There's no reason trying to fit in: Just be you. That was the biggest thing for me, just being me, and finding what works for me.

I don't let it get to my head because there have been plenty of good juniors that haven't made it to the big stage.

He's an absolute icon. Everything he brings, how he carries himself. Never having trouble with the media, never done anything wrong. He's a superstar for a reason. He's LeBron James for a reason.

The U.S. Open is so special, and I'm not even saying that as an American. I just can't envision a better atmosphere.

My parents were hardworking and still are. Everything I do is for them and the family.

I had a lot of Pokemon Pikachu t-shirts on court and hand-me-downs from other kids.

I obviously wasn't a normal tennis story.

How many years have I been watching the U.S. Open? Since I was a little kid.