Where possible, if there's something that is highly likely to kill you, the studios won't insure us to do [the stunts]. But where we are insurable, Len likes to make us do that. He likes to see actors' faces and have everybody know that that is them doing it. Yeah, I definitely got some bruises on this one.

I feel like my brain is more geared towards a novel than it is to a movie.

Apparently, I get facials and manicures all the time. I read this and think, 'Oh, I wish I did that!' I don't think I've had a facial since I was 19.

I am used to wearing corsets. Even when I was first starting out it was either Shakespeare or Chekov. Everything that I was doing involved corsets. I guess I am just not destined to breathe that deeply.

I think you approach a part the same way and just find out in what's making them tick and who they are. In a movie like this you may have a little less time and few dialogue scenes and exposition scenes for your character to really get that across, and so I wanted to be able to convey that she's not somebody who's just punching a clock but she has this weird emotional investment in her job to where she does get quite myopic and that's what makes her relentless.

I think that's why I gravitated toward slightly broader... ummm, more conceptual kinds of movies, Underworld and Van Helsing. That was as much as I could actually give. But you're actually more of an animated figure. It does go against the grain, as an actor.

I didn't feel very attractive as a child and actually I wasn't.