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When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.

I knew her work very well and I knew that if she offered me a role in her movie, it wouldn't be something stupid. So I agreed to do the film before I read the script.

You know, I just tend to do the scene that I'm given, really. If it really needs it, then I'll go to them and ask 'What's she talking about? What's she referring to?' But often they don't know, or they do know and they're not going to tell me, so I've learned just to work with what I'm given.

Meeting with the director is an audition.

The way I go about a lovemaking scene is that we will talk about it during the rehearsing time.

When the movie's done, you talk about either the score or source music over a particular scene, what might work. You just throw a piece of music over the scene, and we both listen to it.

In every movie I do have a dialogue.

I never rehearse scenes with the whole ensemble, because I need to preserve some surprise. Instead, I work with the cast individually on their characters.

She goes on the set with headphones and gives you notes. She's terrific and I always run to her now, because she is just great to work with, as well as very good at different accents.

I remember my very first audition for a film. I was in Seattle. They were taping the session, and I just went crazy. The director finally said, 'Zoe, what are you doing? The camera's right here. Just talk to me.' And it took that director saying that to me to change everything.