I love Saturday nights with my best friend and a big bowl of pasta, wanting a good scare, something that will say, 'Listen, your life is not as bad as this. Your life can be so much worse'.

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've always believed that if you are precise in your thoughts, it's not the lines you say that are important - it's what exists between the lines. What I'm compelled by most is that transparency of thought, what is left unspoken.

Whether youre making a million dollar film or a $100 million film there is never enough money, theres never enough time.

The limelight is a tricky place, because you can't believe what's going on around you. You stop observing. You stop perceiving. You stop extending yourself, and you become isolated.

I feel my fuller-bodied characters are all in the independent films I do, and in the studio productions, I have to work harder to dimensionalize the characters. And that's certainly part of the job description of an actor - that's what you're supposed to do - but you have to work harder at it in the characters that I've encountered in studio films.

I always thought Uncle Vanya could be a stoned masterpiece.