I don't think a director should have any kids. I don't even think it's good for your physical health. Even guys in their 30s look exhausted because directors never get enough sleep. What I do is stressful enough.

I've run into some S.O.B. directors but I gave them back as good as I got.

I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang Tod Browning and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.

It's interesting - I always thought when I was doing more melodramatic stuff like 'Everwood' that the directors were constantly reeling me in and stopping me from being funny.

I've never let producers tell me what to do. Even when I was making television I always did what I wanted to do and if I couldn't I didn't do it. It was a freedom that these days young directors starting out don't have.

It's very difficult to break into motion pictures but it's oddly easier for directors today because of independent films and cable who have inherited for the most part those films of substance that the studios are reluctant to finance.

I fear other actors who are not prepared. And I fear directors who are afraid.

Some very famous directors have started in the mail room which is just getting inside the studio getting to know people getting to know the routine.

I've been very very lucky in my career in my life - from day one. When aspiring directors say 'What's your advice?' first I say 'Be born the son of a famous director. It's invaluable.'

I've always thought that as long as directors and casting directors don't see me as just Harry Potter I'll be OK. People have shown a lot of faith in me and I owe them a huge debt. They're letting me prove that I'm serious about this.

Music and language are a vital element. We as actors and directors offer it to people who want to experience it. Sometimes the actual meaning is less important than the words themselves.

Making movies is a very different experience in a lot of ways. It's difficult when you're used to owning the copyright and having a landlord's possessory rights - I rent my plays to the companies that do them and if I'm upset I can pull the play. But the only two directors I've worked with are pretty great.

I like directors who have worked as actors. They know the experience.

Some of us are interested in directors but really the vast majority of us are interested in actors. You experience the films through the actors so they're all locked into your imagination in some kind of layer of fantasy or hatred or wherever they settle into your imagination.

I'd done table reads for my own screenplays and I always thought they were so much fun. Why couldn't we do these for other classic screenplays and bring them to life? You can experience live theater where you get to see plays produced by different directors and different casts but there's really nothing like that for movie scripts.

One nice thing about being a woman in Hollywood is that the women tend to be very close-knit. All of us writers and directors know each other and cling to each other for safety and support and it's really a completely different vibe than the men experience out here where they're all trying to murder each other.

But it's cool working with female directors because I'm a girl so you do relate to them more. You can talk to them about other stuff like clothes and all that.