Just because I’m telling a story about a woman losing faith is not my rebellion against what I grew up in. If anything, it really affected the way I approached the story, and in fact, approach everything. I don’t judge my characters.

The nature of evil, the nature of it, it exists. It exists and I think within us we have the tools. If we have the will, we can combat it. I think the power is within us and it lies in our own conceptualization of God and positivity and compassion and love.

To me representing clairvoyance, how was I going to achieve that, how I was going to capture that? For me, it all became about her gaze and the way she takes you in. It's a rhythmic thing and a stillness thing to consider but these are little details, little nuances. We were invited to the sanctity of her home and there were roosters running around and she's screaming, "Jackie, be quiet!" Even though she's in the middle of the thing. And these are the details that we wanted to incorporate into our story.

I rely on my directors, a lot. I love being directed.

Editing yourself is like an irksome coin toss. You've got to strip yourself of super ego and operate from the id. Maybe I've got my Freud mixed up. It's just hard to trade a beauty shot for the performance with truth and a brightly lit zit.

I think that films about faith made for faith-based communities have a certain tactic.

I cannot even imagine college. I'm white-knuckling it just letting my son go to kindergarten for eight hours a day.