I always loved how people like Jon Voight and Laurence Olivier shocked you every time they came on-screen. They were so different each time. That's what I hope to do with acting - be the chameleon and not get stuck in a type.

It was nice that there [ in the Bourne Ultimatum ] was a reference to the relationship . It's very subtle - it's actually without dialogue. I do think it's powerful even without words.

We can become very short-sighted in terms of objectives. The first thing to go during times of economic crisis and budget cuts is funding for things that are essential and not-quantifiable, like the arts. Save Big Bird

Bill Pullman is older than Aaron Eckhart - although I was older too - and the age difference changes the play. My perspective on those issues had changed a lot. Without going into nerdy details about that play, there was something that still stuck with me. I still had the same joy in that dialogue and David Mamet's rhythm in terms of his writing. I felt like there was still something to explore.

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.

With film, so much is in the director's hands. Once something is cut together - unless you're in the editing room - you don't really remember what the alternatives are.

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.