When independent films break through and actually make it into any level of mainstream-ness or get seen by people or find a life actually in theaters, it's extraordinary. And it doesn't happen that often.

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?

My son was born somewhat late in my life and I just found myself really feeling like I didn't want to miss out on being a parent and being with him, and not wanting a situation where I was constantly pulled back and forth between being present, and having all these other pressures and considerations.

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 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.

CGI is to me like watching a cartoon. It can be effective, if it's done well. A lot of times you don't feel any real risk. You're watching a bunch of computer-generated graphics.