Biografia

Pedro Almodóvar dedicated his movie Tudo Sobre Minha Mãe (1999) to her, Bette Davis and Romy Schneider.

Her performance as Mabel Longhetti in Uma Mulher Sob Influência (1974) is ranked #63 on Premiere Magazine's 100 Greatest Performances of All Time (2006).

Has suppressed the first version of her husband's (John Cassavetes) film Sombras (1958) and will neither allow it to be shown, nor acknowledge its existence.

Saw Marlene Dietrich in The Blue Angel 38 times while ushering in theater in New York in her early twenties. Has been a fan of Dietrich's ever since.

As of 2013, she is one of six women who has received a Best Actress Oscar nomination for a performance directed by her spouse. She is the only one who has received two such nominations, for Uma Mulher Sob Influência (1974) and Glória (1980) (both directed by John Cassavetes). The other five are Elisabeth Bergner for Contudo És Meu (1935) (directed by Paul Czinner), Jean Simmons for Tempo para Amar, Tempo para Esquecer (1969) (directed by Richard Brooks), Frances McDormand for Fargo: Uma Comédia de Erros (1996) (directed by Joel Coen), Julie Andrews for Vítor ou Vitória? (1982) (directed by Blake Edwards), and Joanne Woodward for Rachel, Rachel (1968) (directed by Paul Newman). Jules Dassin also directed his future wife Melina Mercouri in a Best Actress Oscar nominated performance (Nunca aos Domingos (1960)), but they weren't married yet at the time of the nomination.

[on working with Bette Davis on the TV movie Duas Estranhas - História de Mãe e Filha (1979)] When they offered that part opposite her, I didn't want to do it. I thought, what if all my illusions were broken? But I couldn't resist the temptation. She's no pussycat -- she's just a great and independent artist and I loved every minute working with her.

[on John Cassavetes] We had a great deal of freedom when John acted. We traveled a lot and it was fun. But with directing ... really. I think people don't have all their marbles who prefer directing to acting because you write for three months, you cut for maybe six months. He's the most terrifying perfectionist about what he wants. As an artist, I love him. As a husband, I hate him.

[on her role in Uma Mulher Sob Influência (1974)] I knew many girls who had had breakdowns. I drew little touches from each of them and a lot from myself. I don't mean I'm really going mad, but I'm a little crazy - we all are - and sometimes I let things go.

Children are everything actors say they are. They're unpredictable; they steal scenes, but that's what makes them so much fun. They're not brainwashed and that's very exciting. You never know what they're going to do or say - how they'll respond.

[on receiving an honorary Oscar] I didn't think for a minute that I was going to get it. I think it's awfully nice.