That's an inspiration for all women to see a woman thinking and moving differently from those around her.

We were both [ with Russel Crowe] hand-plucked to do [The Quick and the Death]. He had done Romper Stomper and I had done Gilbert Grape and so we were hand- plucked to do this big budget film. So we were both very bright-eyed and bushy-tailed.

I don't think there's a specific science you can put on dream psychology. I think that it's up to the, obviously, the individual.

It was closer to manual labor than shooting a film. I always think of something Michael Caton-Jones told me: 'Pain is temporary. Film is forever.'

I'm a big history buff so to walk the streets...the ancient world like that was pretty astounding.

From an outsider's perspective, it's amazing what [Clint Eastwood] does. If he's not directing a film, he's acting in it, or rather he's composing the music for that film. His commitment to what he does is astounding for all of us to witness. It's inspiring, actually.

What I do is whatever it takes, it takes. Sometimes you see a scene right away and a take looks great so you might print that and you might print a couple more and take elements of all three. It just depends. You're looking for the highlights. You're looking for the best elements of the scene, but preferably you'd like to have one good take that would go all the way through.