I think Van Sant is the most important American director we have. He takes the most risks. He's just pure to me.

There are two kinds of directors: There's the kind where two plus two equals four, and you have to help them figure it out. And then there's the kind that throws you in a room, locks the door, sets the house on fire and films it.

I needed to stay in the character.

I think it's very dangerous for an actor to take [shooting] too seriously because I think it could really damage you if you do that.

When actors give their input, it can be very ego-driven, and directors are scared of that.

If I'm able to catch the screening, there's a point in the film where, like clockwork, a portion of the audience gets really emotional and begins to cry. And that's very difficult to make happen.

Anything that you [as an actor] can change about yourself for a part is helpful.