"When I'm making the movie [...] I work so hard, and out of the raw material that is the script and talks I have with the director, the writer, I create, I hope, a very specific person who wouldn't have otherwise existed. However, do I then attach and hang on to the finished product? No. The experience of the creation of the character is what feeds me, what excites me, challenges me."
"Anderson is that rarity among actresses; one whose career has gained traction after she turned 40. Her star is in the ascendancy with the dark and gripping gripping thriller The Fall, now commissioned for a third series and surely a contender in the forthcoming TV Baftas; a new BBC mini series of War and Peace in which she plays socialite Anna Pavlovna; her continuing role as Hannibal Lecter’s psychotherapist in the US TV series Hannibal; and now talk of a reprise of The X-Files with David Duchovny."
"Titanic isn’t subtle or tasteful or novel—if those are the only qualities you prize in movies, this one’s brushstrokes will probably be too broad for you—but it’s indisputably big and bold and beautiful. The movie’s themes—which go beyond star-crossed love to include class conflict, the ephemerality of human existence, and feminist empowerment through nude modeling—seem to swell up in recurrent waves, like leitmotifs in an opera. A soap opera, sure, but an opera nonetheless, complete with passionate arias (Kate and Leo at the prow) and grand choral laments (the still-jawdropping, and now inevitably 9/11-invoking, sequence where the ship cracks in two and the bodies slide down the deck into the water below). All I know is that somewhere around hour two, my intermittently muttered “oh, brother” suddenly started coming out as “Oh, the humanity."