If you're intuitive and you have a desire for people to be happy and you want equilibrium and you want life to be good, then you'll worry. But we need to embrace the idea that, "No, I'm putting that aside, over there, in a box. I'll open that box when I wake up in the morning and deal with it then." I really find that men tend to do that, and it's great to be able to do.
In particular, for my character, Celeste [in Big Little Lies], there was a way in which we wanted to present her, because she has sort of barriers that she has to put up for protection because of things that are going on in her life. Yet she wants to be, I suppose, very presentable but neutral.
As an actor you're only as good as the things you're offered. And there just weren't any female directors offering me things. So when you dissect that, you realize there aren't women offering you things because they don't have the opportunities. I work to raise money for women's cancers; I use my voice for violence against women.
That sort of detailed filmmaking is one, hard to do and not have it be pretentious, and two, have it tell the story, which is what you're taught, that cinema is the language of images and you really should be able to make a film with no dialogue and tell a story.
I always say, when I work with younger actresses, "I'm here." Reese says it, too: "We've lived it. We know things. So if there's anything you want to know." I'm careful not to be the preacher, like, "Now, listen to me!" But I do want to be available. Even in terms of things like finances - where do you learn that, if you don't have people you can ask, "Hey, can I ask you a question?"
[As a producer] [Big Little Lies] is the stories of women that I know, and it was a way in which we could go to other women and say, "Here's a great role. There's five great roles here. They're all complicated. They all deserve to be told, and are you interested?" And that is rare.
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