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I focus on the elements of a movie that are meant to invisibly affect me as a viewer. The edges. As an author, I'm aware of how the subconscious things can pluck at a reader's emotions, and I love it when filmmakers do the same.

I wanted to make a film that was sophisticated and emotional, but for a wider audience.

I spend a lot of my time trying to draw the attention of actors to the minute and subtle details of human behavior, which was the sort of thing I was looking at when I was a neurologist.

I discovered you can get closer to a character's thoughts and feelings in a book than in a film.

There were time when I was into method acting that I did have moments of residual character emotions, because the method bases your emotional responses as a character on emotional experiences from your real life.

I've always used my own personal emotions and things that I've gone through in my life to build a character. The work that I do before a film feels almost like therapy, between me and whoever I'm playing.

Film fixes a precise visual image in the viewer's head. In fiction, you just hope you're precise enough to convey the intended effect.

I use cinematic things in a theatrical way on stage, and in film I use theatrical techniques in a cinematic way.

I learned that the best way to work is to allow the scene to live on its own before making major adjustments, whether in rehearsal or on film.