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.

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.

I think when you work with really wonderful directors who have a really strong vision, it lets you as an artist set the tone for your own career.

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.

You have people who know you are competent enough to do your job and then you have the ones that just hover around.

The way I sometimes approach my work, when I look at a script for the first time, is to identify what the archetypes are and what the writing is trying to do in that context.

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