I just want to make good movies. Honestly, the only difference for me with this stuff is that there is more people on the set.

It's ironic that we've built the beauty world around 20-year-olds, when they have no f - kin' concept about wisdom, what life is about, having a few relationships below [their] belt and feeling hardships, to grow into [their] skin and feel confident within [themselves] and to feel the value of who [they] are, not because of a man or because of something like that. And I think that's such a beautiful thing.

It [Hancock] happens to be a big budget film and big star like Will Smith, but it actually has a lot of weight to it. But it was very smart and very intelligent and had this kind of historical element to it that I was fascinated by. It's not silly. It's not stupid. It's fun, but I think it's smart. I think Akiva [Goldsman] writes really interesting material and there you have it.

As actors, we were fighting that tooth and nail because of fear, because language is a crutch and dialogue is a crutch, and it's so easy to just have a great writer write you a line.

I think writing a book with film in mind is a way to write a really bad books. You can usually tell those books that are packaged to become films.

I can't live in a bubble and expect to come and work with Dior or go work on a movie and not have some kind of an evolution within myself and my own thought process and a passion about things or what's happening in the world. All of those things are the elements that make you who you are, and those are the things that sincerely come across in a photo or a commercial or in an interview. That's a constant thing for me.

I learned everything about love, watching 'Splash.' That's why I'm still single, so thanks Tom Hanks and Daryl Hannah for that.