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.

I got to read some writings by serial killers, and they got inside my head. They were quite disturbing. I read disturbing stuff about that very detached way of manipulating people to do things.

I felt it [Shakespeare's Coriolanus] is sort of an examination of our dysfunction as a nationalistic, tribal entities. I think the world is rocking and cracking open in weird and worrying places. And I think Coriolanus, the play, reflected that.

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.

As an actor, there's a bit of you that's decided you want to be looked at and watched, but there's a paradoxical bit that wants to run away.

In the best material, you always should be able to somehow make a case for a story to be transposed to any other time.

Most films are rooted in a book or a comic strip, but I don't go out there saying I want to do adaptations.