I think great directors really respect their actors and vice versa. That mutual respect makes the job fun instead of anything but.

It's like the most profound accomplishment that I've had in my career, that I can finally be that voice.

You can't live in a dialect without tremendous work. Like any muscle, accents and voices and languages are all formed out of the muscles that we have in our mouths and faces and tongues.

You have to keep hobbies in L.A. Otherwise, it's sad.

When you're a director, you have great respect for directors. I am really pretty loyal to any director that I am working for and I want to help them realize whatever story and mood and tone that they're trying to realize. As an actor, you really just are a cog - you are an important cog, but you are just a piece of the machine.

I feel very lucky that when I'm burnt out of acting I take to the pen and I write something I want to direct.

I worked with an amazing dialect coach named Jill McCullough. We did Skype sessions while I was shooting "No Escape" in Thailand, actually. So three times a week I would have long, two-hour sessions with her just working on the nuance of the accent, which I had had a huge background in because I went to drama school in England for four years.