You try to find the internal life, but a lot of it is creating it through physical behavior and figuring out the voice when you create as much of a past as you would in a naturalistic piece. But it's fun, because it's like you're learning something, learning some kind of physical skill.

I've always done roles that really appealed to me on a gut level and which I found inspiring.

I like as much time as I can get and I'll do whatever I think is helpful to prepare for a role. Sometimes it's practical research, meaning if I had to write shorthand, I'd learn how to write shorthand. Or if I have to know how to dance a certain way, I would learn that. And then there's just research of talking to people similar to the characters I'm playing. And there's stuff that I just feel is inspiring, whether it be music or a painting or a photograph. I've used a lot of Nan Goldin's photos in the past to inspire me. I use certain paintings and pieces of music.

I'm not necessarily less gratified by films where you're given less room to maneuve. Because I love a great script, and I love to respect it, and I love to try to give a director what he needs and wants, especially having directed now. [Laughs.] I'm much more open to try to give him what he wants and figure it out. I like working with directors I respect and admire, obviously. And everybody has their own way.

I've never done anything that I felt was crossing the line for me. But everybody has to make that decision individually. Like, I've never shot heroin to play a heroin addict. I've never turned a trick to play a prostitute. Whatever. You draw the line where you feel it could be harmful.

I don't want to play the same person twice, that's not why I wanted to act.

It's very exciting to work with people who inspire you.