If there are no other wonderful roles that come my way, I have a quite an interesting, dynamic life.

Scripts are kind of a bare bones type of reading material.

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?

You know, I don't really understand a suburban environment. I want to be out in the woods, I want to be where it's wild, I want to wake up and hear birds, I want to walk outside and see a gaggle of turkeys bouncing across my lawn - I want to be someplace like that - or I want to be right in the middle of an urban environment.

When I read a film script, I kind of see it in my head and I see the moments that shape what I understand the character to be. There's very little time for rehearsal.

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.

Eventually you love people - friends or lovers - because of their flaws.