I didn't need clothes. I was allowed the opportunity to act out moments you don't get the opportunity to experience in your own life, let alone as a character in a film. I didn't feel naked.
We had two cameras, so they could turn it on and shoot as much as we wanted. You don't have to worry about wasting money on film. A lot more takes are possible.
I gradually work myself into a frenzy as the shoot approaches, while we're choosing the costumes or working with the make-up artist. I'm not so much interested in my character as the film itself.
Actually I did, because I saw the film like everyone else, ten years ago and I remembered some of it. I just wanted to see it, to kind of remember the tone a little bit.
We made one film called Thy Neighbor's Wife in which I got flogged at the public whipping post for adultery. I did my best acting in that film, I guess.
Working on a film, you don't get time to develop rivalries, but the theatre is like a little village, and the differences between me, Lionel and Georgia grew.
For example, Michael Mann's film Collateral - there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.
