I consider myself a 'local' actor in France. I started out in France, I went to drama school in France and the French film community was very welcoming to me when I was a young actress.
Digital video is so beautiful. It's lightweight, modern, and it's only getting better. It's put film into the La Brea Tar Pits.
I think that directing is the ultimate martyred task of filmmaking, that it has nobility to it. It takes three years to make a film, for the most part. I think it requires the attentiveness of a mother hen.
Ultimately, it has been a struggle- but I was in Minneapolis and Austin a couple of weeks ago, sitting in theaters with complete strangers watching this weird movie that Kirk and I thought up and I was excited to be making film.
I started my career wanting to make a 'James Bond' movie, and I couldn't get hired! I made 'The Bourne Identity,' and ultimately the impact of that film was that it changed the 'James Bond' franchise.
So I just came out here to Los Angeles with a bunch of buddies I had gone to film school with. You know, for better or worse, we just tried to slug it out here.
You get to the middle of a take that's going really well and the camera will run out of film. They have to stop you, apologize and then you've got to get things going all over again.
I discovered that silent film is almost an advantage. You just have to think of the feeling for it to show. No lines pollute it. It doesn't take much - a gaze, an eyelash flutter - for the emotion to be vivid.
We cannot turn our back and say that violence in films or anything that we do doesn't have a sort of influence. It does.
I've got four piercings in my left, so we've dubbed my right one the 'period drama ear.' I have to be filmed from that side when I do emotional close-ups in 'Downton.'
I had travelled pretty widely around the world even before then, so I knew where to go to film wildlife.
But it's a strange thing when people judge you because you're not doing some big Hollywood film. Are you suggesting I should be in 'The Dukes of Hazzard?' I mean, hello?
When I'm not filming anything or on the road doing stand-up, I'm usually doing stand-up shows every night - usually a few shows a night at different clubs in the city.
When people are feeling insecure about their jobs and there are cuts to be made, it's hard to put up an argument that the film industry needs funding.
When you make your first film, there is a hell of a lot to think about, and you've got to have a gut understanding of your material.
I had the feeling that Sarajevo was the perfect place to shoot the film I wanted to shoot. It is the perfect illustration of purgatory.
In a series, you really need to stay open-minded. It's not like a play or a film, where you can create and fully commit to your character's back-story.
I started writing and acting in these little plays and then I was discovered by Dustin Hoffman. He got me my first audition for a film he was in, called 'I Heart Huckabees.'
It's not scary to make a horror film because you get to pull back the curtain and see that none of it's real. When you're watching one, the terror bombards you.
I didn't go to classes there, but ended up at the Cinematheque, and there it opened up even wider because there I saw a variety of films from all over the world.
There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!
