Rita Wilson

Then they improvised the whole scene about that's a chick's flick.

And that reminds me of the Dirty Dozen and the guys jumping off and how that made the men cry.

And so Nora kept it in, which was really great.

And I was very surprised that she did that.

And talking of musicality brings us to your album, Sound of a Woman.

And I'm very interested in some of your lyrics.

So there's a track called Michelangelo, which I love because the whole premise of that track is that there is something beneath this rock that is gradually sort of carved out and there is the woman beneath.

Can you talk to us a bit about that track and what you were trying to say with it?

Yes.

There was a quote that I used to have on my bulletin board, and it was a quote from the artist Michelangelo.

And someone had asked him,

how do you carve these spectacular statues out of these massive, massive chunks of marble?

And he said, I see the angel in the marble and I carve until I set him free.

And when I read that, it just... It opened something up for me because I think as...

we all have a vision for ourselves.

Like, who do we really want to be?

And I think as women, we come in and we're, it's so easy to assign labels to women.

Oh, you're such a sweet young girl, or you're a sassy teen, or, well, you're a little bit of a workaholic, or, you know, what a great mother you are, or you're a wonderful wife, or, and all of those things are wonderful and they're beautiful.

But there are also the sort of superficial exterior things.

And I think we spend so much of our lives shedding those identities that don't work for us anymore until we get to a place like now where I am, which is literally, you know, I guess the most unfiltered place you can be when you get to a certain age where you just don't care what anybody thinks and you can tell the truth more fully.