I was born a Catholic and now I'm a lapsed Catholic. I'm something but I'm not a believer any more.

I learned so much about myself from reading this script and doing this movie [Shelter] because the level of judgment and the lack of humanity I saw in myself was disgusting. I never took into account what a homeless person might have been through.

Up until like five seconds ago, I just took what jobs came along.

So the actual privilege is that you can then take time off - and if you don't, you're a fool. You're earning all this money to support children whom you then don't see, which is absurd.

I remember coming on my first set and it being a playground of things I wanted to ask questions about: cameras and lenses and what the lenses do, what's the focus puller doing and how does that work? Why is there less margin for error when there's less light? I was always asking questions and watching directors closely.

I really like telling stories. When I was a kid, I wanted to write songs. In quite a fundamental, gratifying, childish way, I enjoy the doing of telling a story.

I do feel that scripts get developed now to a point where they're sort of actor-proof. If the actor is not very good, the narrative still survives because it's all in the dialogue. Not to say there aren't great performances in English-language films, because there are every year, but the 1970s were awash with great performances, and I was wondering whether it had to do with the amount of space and the amount of responsibility given to the actors.