I've had so many people just come up to me and say, 'When you came up on the screen, everybody in the theater applauded.' It's just so sweet, really.

I was quite eager to work, anytime somebody was offering me a job, if I liked the role. Because I was always very discriminating from the very beginning, in the sense that I had absolutely no problem saying no to jobs when they came along if somehow they didn't fit into my universe - whatever that was.

I've always done things the hard way. I was born like a piece of tangled yarn. The job is trying to untangle it, and I'll probably go on doing it for the rest of my life.

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.

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've never done anything for money. My first love is things of limited commercial appeal. I could be happy doing Shakespeare for the rest of my life.

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.