I used to get so worried that if a scene didn't go a certain way, then it was horrible. But then I realized that it was better to give the director options in the editing room than just being locked into how it's supposed to be.
I was paying attention to where Steven Soderbergh had the camera and his shots. I was blown away.
Growing up, I always had my dreams set on being an actor, so I looked up to Julia Roberts, Audrey Hepburn. I also look up to Kate Winslet and Renée [Zellweger] and Cate Blanchett...and Diane Keaton - she's a genius. I think it's very inspiring to see these women attack such complex roles.
I'm so spoiled - I must have a Starbucks vanilla latte every day. Otherwise, it's going to be a bad day. I also love Jelly Bellies. But that's bad. Don't tell my mom.
I like being part of good movies and telling stories that mean something to me. I also like playing characters that I look up to.
I found it to be more challenging to be in a huge effects movie, because a lot of the things aren't there.You have to trust the director and react to nothing.
I’m not the easiest person to live with. I’m kind of a slob.
I'm not strictly vegetarian, but meat doesn't play a big part in my diet.
What I love about watching classic horror films is that they take you on a ride and they obviously make you scared because you're so invested in the characters, you're almost forgetting that oh my God, this is about to scare me.
When I was on set I tried not to bug Steven Soderbergh too much. "Why did you put the camera there?" But he was very open to my questions and definitely being on his set was really thrilling because he's such a master.
How do you know you told a good punch line, a good joke? It's because they laugh. How do you know you've got a good scary punch line? It's because they jump out of the seat or scream. So the best reward is one you can listen to.
We had such a wonderful set of circumstances in Wilmington. Yes, the four of us became famous literally overnight, but we were in a small town and we always knew when people were coming down. We always knew when to behave.
I love all of his movies. I love all his movies. I love Tom.
I have some road rage inside of me. Traffic, especially in L.A., is a pet peeve of mine.
I really enjoyed working on the first one [Batman franchise] and I wish I could have worked with Chris Nolan again and I hope to work with him again.
I optioned a book called "Rare Objects" by Kathleen Tessaro and I'm adapting it . It takes place in the 1930s and it's about two women and that's what I'm working on to direct.
I really hope that I get to work with Chris [Nolan] some day.
I think it was around the time of doing those shorts. [Producer] Christine Vachon, I had a meeting with her, and she mentioned the short, this AOL short, and asked if I wanted to do one. And then the next step was the "30 for 30," and again that boosted my confidence enough to decide I'm going to do a feature narrative. And I was supported by my agency, and [producer] Jane Rosenthal has been an exceptional friend, and she produced "All We Had," she encouraged me to do the "30 for 30."
I felt that there was a beautiful story [ in "All We Had"] to be told and one that was valuable and also one that was a size that I could do as my first.
Steven [Soderbergh] is so generous and when I sat down to meet him for "Logan Lucky" he answered so many questions about directing, so when I was on set I tried not to bug him too much.
I started working on how I would direct this a year before we started shooting "All We Had" and I was prepping, acting, and directing sort of at the same time. I knew that I didn't want to hold people up on set.
I remember when we were doing "Batman Begins" and to watch Chris Nolan go from "Memento" to "Batman" and take that leap from such a smaller size to a big movie, that's inspiring. But those movies are their own type of art and you have to really understand it and really know that world and I would have to take a long time to figure that out.Because my brain doesn't naturally go there.
Suri is my daughter, she's very, very special to me, and this project took a lot of time and because it's my first feature I wanted her to know that she's so special to me. I thought that as she gets old that will mean more to her, that she's always the most important, and I wanted to give her a special thanks because she means everything to me.
Simon McBurney on "All My Sons" on Broadway - we had an eight-week rehearsal period and I really enjoyed the way that he prepared us to go onstage. It was different than anything I've done and it was a different way of being directed, so I tried to take my different experiences of these directors and give those to my actors.
Working on "Pieces of April" with Peter Hedges at a young age was really very powerful. It was a different kind of work. We shot that in 10 days and Peter was right there with us, right next to the camera. It was very grounded and I really liked working that way. I liked the way he directed us.
