It's certainly an interesting moment to try to talk about, 'cause you could make a great show about the police force right now, with all that's happening in the news and Ferguson and all of it.

It was a really strange experience. It was very creative for Alejandro Amenábar. It was almost like it was the most I ever felt like I was helping someone paint. They had a very clear idea of what they wanted it to look like, sound like, be like. So, there was no operating outside the box. The only way to help him was to try to really be a part of his imagination and try to make it happen. He's a super kind and loving person. So, you wanted to help him. It just was none of my normal ways of helping a director work at all. So, it was a unique experience for me that way.

It's always a unique challenge when you're working with somebody where English is their second language.

Time is what creates trust.

Have this Chet Baker movie coming out and in that situation, I went down the rabbit hole studying Chet Baker and being obsessed with the period and the music and the relationships and the dynamic, and everything, drug addiction. There was so much I wanted to get at to kind of get at the truth. With Regression, I was certainly in Alejandro's [Amenabar] hands.

Read. It makes you more intelligent. It’s that simple. We all see the universe through the tiny keyhole of our own eyes, and every book is another keyhole from which you can gaze.

One of the hardest things about my job is that there kind of is no one rulebook that applies to all situations.