Education is huge for me. I went to public school until I turned thirteen, and was lucky enough to afford college once I became successful as an actress. I cannot believe that quality education costs as much as it does in this country. Ghetto Film School is a remarkable public high school in New York City where students get to learn to express themselves through filmmaking, and have hands-on access to equipment.

The thing with the Bourne movies is that they're so big in scope and the production value is so high and it takes so much organization.

I remember seeing Janet McTeer in A Doll's House. My grandmother took me and we had seats in the very back row, but her performance was so powerful - it was very accessible. I felt like I was much closer than I was.

I think audiences, producers and directors included, develop crushes on actors (actresses in particular) and then lose interest and move on to the next one.

I think it's really special to be a part of something that people are still watching or thinking about or interested in, or remember fondly many years later. I don't think it's annoying at all.

I did a different production with a different director and Bill Pullman. Oleanna­ - the one you saw - we were doing right after Bourne Identity or right after it came out.

Of course my family and friends are incredibly valuable to me. They keep me sane, they teach me things and I love spending time with them. I think that ranking what you value is a sort of western and linear way of looking at things.