You often have a great director who's like, "Well, actually I don't even want to reveal you until the end of this scene" or something like that and it totally changes everything that you thought it was going to be.

When you look at something that's so extraordinary, like a man who is traveling back in time to prevent JFK's assassination, for me as an actor, you're still trying to seed it in some sort of reality.

It sounds really corny but every film that you do is its own journey, it's its own experience, it's its own thing. Often you think it's going to be one way and then it goes another way - you think you can chart a character and then other things happen. That's the amazing thing about our jobs, it's constantly changing and it's extremely dynamic and you therefore have to be dynamic as well.

As women, we're always in negotiation with how we're being perceived versus how we feel.

I think the mark of a good director is that they surround themselves with good people.

Нou're always in constant dialogue with your interior self versus your exterior self: how you look, and how you're perceived, and then people's preconceived notions of you.

If you ever had anyone in your life who has been struggling with addiction or struggling with anything, it's about the resilience of love and how much you're willing to struggle with somebody to preserve your relationship and to try to preserve them as a person - and I think that's really important.