People do horrible things when they're young. There might be betrayal and there might be things that should be forgotten.

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.

I've made it very clear that I'm interested in voiceover work. I mean, I'm always looking for voiceover gigs. I love that.

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.

Filmmaking is a huge privilege; it's not brain surgery. It's art, and art is supposed to be an enjoyable process, and it is an enjoyable experience for me.

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

I'm not a sketch writer. I know what I am: I have a sensitive comedic sensibility. What turns me on is subtle neurosis. That's my game. I'm not an action writer or a thriller writer and I'm not a sketch writer. I don't pretend to be those things. Then it would not be fun. Then you are in a space where this is painful.