I hope I don't become just an animation [with a digital film].

I don't know if that's philosophy or if that's something else, but to me it [digital filming] has an emotional feeling , that this materiality, the loss of the materiality.

One of the aspects I like about the film is that there is a kind of emotional, psychological discussion during the storytelling, ... Before taking a drug, go through yourself, experience yourself, all your hopes and fears in your own time. Before the pharmacology, do the psychology.

Basically it starts with four months of training, just basic stretching, kicking and punching. Then you come to the choreography and getting ready to put the dance together.

I guess I'm not really involving my imagination to that of a circumstance or happening - I'm just kind of acknowledging it as an existence.

When I work on a film, you know, I try to get or inhabit the body of the character -from the vision of the directors or how i think the character should be - so if it's a film like SPEED, you hit the gym, you get to do some, train with SWAT People, hehe, but in general, I'm really focused and dedicated, and then in regular life, I don't go to the gym as often.

I had the classic 40 meltdown, I did. It's embarrassing. It was pretty funny. But then I recovered. To me, it was like a second adolescence. Hormonally, my body was changing, my mind was changing, and so my relationship to myself and the world around me came to this assault of finiteness.