Quentin Tarantino assistant called me and said: "I have good news and bad news. The good news is you got the part, the bad news is you have to do it." I was like: "Oh Jesus, when am I supposed to do this?" I was prepping Hostel.

I want an iPhone 5, someone said something nasty on twitter, or my boyfriend isn't texting me back, like whatever the thing is that seems so major in your life, when a real disaster hits you suddenly strips it all away and you see what's really important and who you really are.

Quentin [Tarantino] called me and said: "Yeah, you've got to be in my movie. You've got to be in Death Proof." But he made me audition. I was like: "Dude, I don't even want to do this..." So I left the casting of Hostel: Part II to drive to Venice, where Quentin was holding his casting, and the person ahead of me was Derek Richardson from Hostel 1 and he was like: "Dude, what are you doing here?" I said: "Don't ask!"

I'm not interested in going after a part. I think if someone wants me for a part and approaches me then I'll take it on a case-by-case basis and see what that part is.

In musical theater, if you have a song, it has to advance the plot. If you have a song in a musical and it does not advance the plot, it gets dropped.

It's very flattering to feel like you actually helped create a sub-genre.

The best movies now are called 'thrillers.' Because if you use the word 'horror,' people's associations are straight-to-video crap.