I just loved being around everybody. We just found a rhythm with each other that you want to get on everything you ever do in your life.

We worked on The Perfect Storm, and I'll never forget, Wolfgang Petersen would talk about a moment. Like a non-speaking moment, where we'd all be sitting around eating dinner, and it would probably last maybe four seconds on screen. But he would sit there and talk about it for about 10 minutes. He knew what piece of the puzzle that scene would be, and if it were six seconds, it would be too long. If it were three seconds, it wouldn't be enough. I'm always turned on with people's enthusiasm like that.

Ridley Scott - not that he shared it a lot, but you can just see that everything he did, Ridley always seemed to be just so clear. I love that about him.

The Underneath was my first film. Steven Soderbergh. I remember that I thought, "Wow, this is such a highlight. Am I ever going to get back to this?" Loved working with Steven and in Austin, Texas, one of the rockin'-est towns in America. I'll always remember it, because I was really grateful that someone finally hired me for a movie.

I think that there's no doubt that to work in film is a bit more of a creative journey. It's not that I don't put the same time or heart into something that's on television.

The greatest joy in getting ready for the film is that there aren't many reference points for the journey and you've got to define it for yourself.

Sometimes the scene is a sad scene but you have to play it with a laugh to find out that that doesn't work or that there's really a part of that in it, and that's what rehearsal is for, to take that time.