I went out to Mount Kilimanjaro, which I thought was very beautiful, but there were a lot of people there.

I respond to a part just intuitively when I read a script.

Like anything to do with trust, in any relationship it emerges and just the chemistry, vibe between two people an actor and a director. You just know whether this is someone I like to be with whose interaction with me I believe in.

I don't feel particularly comfortable about actors using whatever power they may have to push their beliefs, unless they're extremely well informed.

When she was younger, my mother was quite committed to Roman Catholicism. But she got disillusioned with it and moved closer to something like Buddhist beliefs near the end of her life.

I have a great editor and I enjoy, in a masochistic way, being ruthless about my own performance. How do I know, but I think I'm quite good at saying, "That's no good. That's no good. That's it. That's it. That's good." And I'm with the editor who goes, "No, I think you're wrong. That's not your best." There's an initial point in the editing, if you're directing yourself, especially in my case, where you go, "Ouch, ouch, ouch, I can't watch this." And then, there's a point where you become hard-nosed and just take your neurosis away and go, "What's working? That's okay. That's okay. We can lose that, and lose that." You get objective about it.

I was grateful to have two weeks to shoot this one scene in Harry Potter. It's a big, big scene, but they have to deliver. And they have high expectations.