When I was six years old, my parents took me to this farmers' market with a petting zoo. They put me on a pony and, for some reason, it took off at a run and they had to chase it down. They tell me it was kind of traumatic.

If I were given a choice between two films and one was dark and explored depraved, troubled or sick aspects of our culture, I would always opt for that over the next romantic comedy.

I never say never, but I'm really enjoying the freedom I'm having right now.

I didn't want to be a victim of my own message [in Trust film]. I didn't want to take advantage of a 14-year-old actor. I didn't want there to be any nudity, or any real overt violence. I think it's more terrifying that there is no violence, in that moment. There's control and there's power, but there's no violence.

And, again, I'm the first one to say that I'm not going be successful at everything.

I think the other honest attraction was that I just grew up loving watching TV and loving watching film, and there's so many directors and actors that I dreamed of working with, I just really wanted to take a crack at it and see if I could ever work with some of those.

I had invited 50 or 60 peers and friends, most of whom were parents, to see the film [Trust], and I asked about the last scene. It was interesting because it was split right down the middle, 50/50. About half the audience wanted it to end with the very emotional scene between Clive and Liana, and that feeling of realization and catharsis. And, the other half were adamant about keeping that last scene.