Maybe it was my revenge on people who had been unkind to me as a child. But it was very easy and a thrill to freeze up children.

There's an alarm bell that goes off in my head if I can sense that I'm making a mistake.

As a performer, I'm constantly fascinated with the idea of being able to know what anybody else's experience is, and how misleading all informatives, like appearance, can be.

This film [Teknolust] in particular, showing the way in which having a sexual dialogue with someone can be something developing and changeable and maybe uncomfortable and complicated. Just complicated and human, no more and no less.

In The Deep End, you have a woman who looks like a J. Crew mother who can manage it all. Then we begin to realize what's going on inside. Every time I see one of those women stuck at a stoplight with the children in the back of her car, I sort of think, "What have you just done? What's going on in your life?".

The only real struggle [in Doctor Strange] was casting spells - learning all these amazing things with fingers, and then remembering what to say at the same time. They would say, 'So you have to put your hands there, not there because the light is going to go [MAKES SOUND] so that kind of masks... but it was all good.

I'm interested in that whole question of where we wear our identity and how can we see it.