You try to follow suit and the directors I work with, like Sidney Lumet (on film in Before The Devil Knows You're Dead and TV in 100 Centre Street) who thinks actors hung the moon, thinks they can do anything, but he also works really quickly, the same like Clint Eastwood, and so you better also do your homework, you know?

I will admit, it's so intoxicating working with Steve Carrell. Creatively and professionally.

It's funny to see the finished product of a movie, stuff that's so beautiful, and to remember the particulars.

It happens a lot, but I also think of it as not so much like being abandoned by a director 'cause they're worried about a technical aspect, but I think actually that's my job.

If your body is excited to do something, that's what you should be doing. Or if it really scares you, you should be doing it.

When you're on a movie and the production department says, "We need old photographs of you - your character - when you were 20-years-old." I usually tell them it's in storage or I had a fire. I go back to these old photos and there's never a good photo or they're of times that I'm so glad I'm out of. They have nothing to do with the character that you're playing, so it feels false. That's one of the hardest things for me in terms of looking back.

I love Morocco - it's a real challenge to all five senses. You think you know something, and you don't. It's wonderful. It keeps you on your toes that way.