I don't feel I'm playing villains all the time.

You have to just dive over the edge. You haven't got time to mess about.

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.

There is a tension in relationships between wanting to return to the womb, but also wanting to be free. Because sometimes the woman's attentions can be overly maternal, and you want to go, 'Ahhhh!'

Within the process of filming, unexpected situations occur.

I was only interested in my scene, and I had to go through thousands and thousands of other scenes. I got my scene and I read it many, many, many, many, many times. That was my research.

Kenya doesn't have much of an infrastructure for hosting a film of this scale. Our producer decided that for the film to really work it had to be in Kenya.