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.

In Shakespeare, keep it simple. Don't over-inflect. The speech needs to be naturalistic and simple and accessible as much as possible.

Little moments can have a feeling and a texture that is very real.

I have a lot of stuff I want to talk about and offer up. It would be odd not to have ideas about something.

God is not anything human. God is a force, God is chaos, God is unknown. God is terror and enlightenment at the same time.

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.