I don't ever feel like I've had a moment where I am like, "There it is; perfect and holy in all ways."

There's always something ridiculous happening on the set, especially when people get tired because of the long days.

I've always enjoyed doing a huge variety of roles, which I think helps, instead of settling for the things I might be most comfortable with.

When you're no longer seeing yourself, in some ways. You're as close to being as you can be.I suppose that's consistent with the moment that the mind actually turns off, and is no longer questioning what you're doing. When the questions stop, that's when the real acting takes over. And trying to get to the point where the questions stop, "Would I do this? How do I feel about that as a character?" When those stop, and it's just doing X, Y, and zed, because that's what you'd do as this character, because you're inside this character somehow - that's when it really kicks off.

David Mamet was great to work with. He was everything that I thought he would be as a director. He's incredibly articulate, an easy collaborator. Extraordinarily knowledgeable about film and writing.

Practically everybody I've ever worked with, I'd like to work with again. I had a great time with the people that I've worked with, and the directors, and a lot of the casts. There's really nobody where you'd say, "Oh, I got X, Y, and zed again! Gahhh, no!" It really brings a smile to my face, because in 95 percent of the cases, people I've worked with, I'd be thrilled to work with again.

I like to disappear into a role. I equate the success of it with a feeling of being chemically changed.