When you get into the edit you'll understand what making a film is. You'll see all the things you missed and all the possibilities you have from what you shot.

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.

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

Performance is made in the editing room, and I've come to see the truth in that - the idea that they say performances are usually made in the editing room because what you film is the raw material. I think just going through the process of saying, "Which take do we use? Why is that the take we want? I want that take can you edit again, I'm not sure that's the one, I think it's this one." And just because you go through that process, I think somehow it's made me sort of more open about the [actor's] possibilities.

People fear they won’t get what they want.

It's not great if someone gives you sort of bland praise without giving you clear direction and say, "This is good, let's try it like this." I have worked with someone who seemed quite inarticulate and just would say, "That's good, that's good." That's very frustrating because - it's nice to know something is good but you know it can always change.