I feel like it's important to be flexible, particularly when I'm coming in late in the game and I'm connective tissue in the story. I'm not at the very center. It's important for me to have a certain kind of flexibility and try to help people do what they need to do.

I don't worry so much about the audience. I want them very much to be involved and enjoy the movie, but I try to just inhabit the character in a full way, where I can create a personal stake.

The director's very important to me, particularly when the director has a recognizable style.

Mounting those red stairs [in Cannes] is something I've done with a very different intention many times. So it's interesting any time you witness those shifts of perspective. The beach scenes were also fun. It felt very strange and very theatrical to kind of commandeer it and have La Mer booming over the speakers.

I have some sort of affinity for compulsive behavior. The most interesting stories come up from the people on the outside.

You can be intuitive when you've got a more expansive role. You can get into the poetry of telling the story rather than just pushing buttons.

Socially, I like the idea of sitting in a theater with a bunch of people.