When Lars Von Trier calls me, I say yes without reading the script because often the script hasn't been written yet, and if Fincher called me again, I'd say yes without reading the script, too.
Of course, working with Halle Berry is fantastic. Every day, you're looking at a performance that you would be prepared to pay to watch. She's truly great and truthful, and it's a joy.
Most of my acting in general is about what's going on in the head, and the lines are just something that comes out.
Any society that starts forbidding certain words or expressions is a society you should be wary about, whether it's the KGB or social consensus that enforces it.
I don't feel ashamed or humiliated when I am naked, but I definitely feel it when I am playing games.
I've worked with Lars von Trier on many films, and there's always a female character that's like an open wound - everything just pours out of this person.
If you look at Kirsten Dunst's performance in 'Melancholia,' which I think is absolutely wonderful - it's not even in the text, because she doesn't say much; it's all in her eyes. She doesn't have to explain what she's feeling. You just feel it.
One of the beauties of 'The Girl with the Dragon Tattoo' is the very delicate and strange relationship between the two main characters.
The ethical code of my upbringing was be good to people and try not to hurt them. You don't need a god to tell you that.
It's a disease we have that we think that everything is explainable. It's a merchandising idea because you can sell explanations and cures for everything, but it doesn't work like that. It's very hard to understand everything.
My preparation for roles are less about the character's profession than who they are, what their dreams are, and in what way are they childish.