I'm ready to do some classics. Maybe I wasn't in the beginning. I weighed 179 pounds when I got to New York, and I had that thick Southern accent. I still talk Southern, but I can do without it.

If you just think Donnie Darkos a weird movie, you don't want to think. You don't want to feel your feelings. So yeah, I do want to shake 'em up.

The Coen brothers: Of all the directors I've worked with, they're the only ones who have given me the storyboards attached to the script. It was very cool for me, because I knew when I was in close-up or if it was far away, and it also made me know that anything that happened in the edit wasn't personal. Because they edit their own movies, so they were editing it as they went.

Dustin Hoffman and Tom Cruise were both so generous to me on the Rain Man set. I remember Tom was in the trailer when I said to the makeup guy, "You know, I would really like to not wear any makeup. I just have this feeling that she wouldn't have any." And Tom said, "Yeah, that's cool!"

One friend said, "Donnie Darko movie was weird!" And I thought, "Hmm. I don't think we're as good of friends as I thought." It's not like I disliked him for it; it just meant we weren't on the same page I thought we were. Because I can't imagine watching that film and not being moved to tears.

I love Fargo, I love all of them, but Miller's Crossing just happens to be my favorite. When I heard Coen brothers were doing No Country For Old Men, I thought, "This is it. This is their masterpiece. This is going to be the one, because it's going to bring every element together." I just had a feeling about it.

There's always that key to every character that lets you go to those places you need to go to. No matter how much you might hate the character, it makes you understand it.