I don't live in Los Angeles and I don't do a lot of superfluous press.

I like A&E. I like those corny intimate-portrait things. They're so kind of ingenious and artificial and soothing.

I thought the other ones were so obviously - what are we going to do if she burns down the house? The DEA, which I think was maybe the best one because she's wearing the jacket when she goes through the mirror and I think that was kind of amazing because you really weren't expecting that. There's something almost slapstick about this in a way that worried me. It was a little pratfalley with the golf club and the - but I think it probably cut together okay.

There's a lot of time sitting in movies, so you can put alligators in people's trailers in your spare time. So it [making a film] moves slower, which in some ways is great, because you can live with a scene and invest in it a lot. And in some ways it's hard, because sometimes you can start to lose your energy a little bit, but both are fun.

I don't live in Los Angeles and I don't do a lot of superfluous press.

My favorite scene in all of movies is Gregory Peck in To Kill A Mockingbird: You see him where he's on the porch, and his face is almost completely obscured. I don't want to see his face.

You can never really tell, it's kind of a red herring until you see the project I think. You just know if you like working with someone or not, and he does have a real sweetness about him, I think.