For me, the motivation really was to work with Al Pacino. To me, that seemed like an incredible opportunity, just a learning opportunity because I thought so highly of him.

I think that there is a real beauty to the live aspect of the theater, and the working with a director for a month on a script in the isolation of a room and really deeply delving into who are these people, what is the story we're telling, how do we want to tell it?

I think it's very important that films like Bad Hurt don't get lost in the mix of the sci-fi-kill-everything-on-the-screen-blood-dripping-down-the-walls sort of the world of the cinema that we live in.

The secrecy thing has gotten to be more and more prevalent in films, and maybe that's good. It's nice to go see a film and not know anything about it. Sometimes I feel like we know too much about films.

For me, the motivation really was to work with Al Pacino. To me, that seemed like an incredible opportunity, just a learning opportunity because I thought so highly of him.

When I was in my 20s and 30s, there was such a variety and diversity of types of films that you could see. So many of them were really more about the human condition and about relationships between people, and they were smaller films that had a much greater impact on me as a human being.

I watch many, many, many independent films every year that you see once in a film festival and they're never heard of ever again. Many of them are very, very good.