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It's amazing how much you can absorb on a film set.

There are two kinds of light - the glow that illuminates, and the glare that obscures.

Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident.

It might sound odd, but I want to thank Michael Bay because he's been saying how important it is to show 3D with the right luminescence. And that's very important for this film, a lot of which was shot at night or with very low illumination.

I've learned all my hair and makeup tricks on the set, and I incorporate all kinds of things when I'm getting ready, and I'm big on blotting papers. I get a very shiny forehead, which I like to call my inner glow coming out.

I have the stardom glow.

For some actors, their star shines brightly and fizzles out. My star doesn't shine that brightly, but it buzzes along. Hopefully, that means it will last longer.

I learned early on that if I was to get attention, I would have to be charming. Even the models I've photographed are often like that. Some of them are not beautiful. But, if you catch them in the right light, they glow.

I brought the film like a flower to the world.