You create this situation where you are so dependent on each other. That's especially true for film. In theater, the actor has much more say, much more control, for better or worse.

I hesitate to direct even though I feel I contribute a lot on a set.

Really, for me, it's important to know who's pitching and who's catching - just what that scene is supposed to accomplish in terms of storytelling. That being said, on the day, basically what you're trying to get yourself into an open place. And if the character is in a state of anxiety or vulnerability, you try to find some touchstone.

What I like about The Meddler style of movie is that it's a fairly lighthearted romantic comedy, but there are hidden moments where something happens that's unexpected, that hopefully have some kind of emotional resonance that you didn't see coming. I love when a film does that.

If Wes Anderson has a very strong cast, he can direct the minutia of that story and still manage to have something that lives and breathes.

When Alan Rickman, a dear friend of mine, played villains, he always made it complicated. He didn't redeem what they did, but he made you feel that it was hard for them to be so horrible.

By the time I went to the Catholic University of America, which was the time the priests were all leaving with the nuns, the more I studied about the Bible and how it came about, the more I lost my faith.