They sent the material to me as an actress, ... I liked it so much, and I identified with the character and the script so much, I thought: I don't want anybody else telling me what to do, so can I please direct this?

I was never an ingenue. I've always just been a character actor. When I was younger, it was a real problem, because I was never pretty enough. It was hard, not just for the lack of work, but because you have to face up to how people are looking at you.

The roles I was lucky enough to get were real stretches for me: usually a character who was older, or a little weird, or whatever. And it was hard, not just for the lack of work but because you have to face up to how people are looking at you.

I look for a role that hopefully I feel empathy with and that I can understand and love, but also that has that challenge for me to play - a different kind of role, a different type of character, a different time period.

[Bates had explored some of the themes of the story — depression, overcoming fears — before. Marriage, however, was newer territory.] It's always presented either as the romance or the tragedy, ... We don't look too often at what marriage really is. Marriage masks thousands of different arrangements — behind the scenes, it's all about change and negotiation and compromise. But we have the same attitudes toward marriage that we have toward death and dying — we want to sanitize it.

There's only maybe two pages in Jane's book that deals with the marriage because she was really talking only about her becoming an EMT and going through this midlife crisis, ... So when Alan Hines wrote the screenplay, he sat down with Michael Stern and really got down to the bottom of what was going on in that relationship. The work was there in the script.