If there's a criteria that really gets me interested in a work besides any type of personal interaction with the theme, it's if I feel like this is the right piece of work for that director at that moment in their career.

A lot of why I do something is just the novelty of the experience.

For Keeping the Faith, I looked at [George ] Cukor's old films like The Philadelphia Story, stuff that's hilariously funny and really smart with a cutting critique in the humor, too. With this, when I read it, I was laughing a lot.

When you're working on a creative thing, everyone has an idea, and they're pushing it. The first time you work with anybody, you have to get comfortable with the way another person pushes hard for what they want.

I'm a New Yorker, you know.

There's a lot of romanticisation of the intuitive actor and method acting and all kinds of notions about getting inside a character and coming out from there.

People are worried about the degree to which corporate interest is starting to threaten human interest.