I am a limousine liberal.

What happens is things come to you – director, script – and if you respond to it, it’s because it’s tapping into some part of what’s inside you, and different roles tap into different parts.

I’ve never really been one to get what they call stage fright so much.

It’s a foreground of my feeling. That place moves me. And I don’t mean my country; it’s part of our shared natural world that happens to be particular to a sense of wherever my storytelling inclinations come from and my own history of kind of being a road rat and travelling.

When I buy a Nikon camera, I have no tolerance for the instructions. I’m ready to make some mistakes using it and get some bad pictures back until I’ve figured it out for myself.

If you’re willing to put two thoughts into a picture then you’re already ahead of the game.

There is a kind of sense of truth and reconciliation that is non-formalized, but it’s understood and accepted. Haitians are Haitians and there is an inherent loyalty that forgives an awful lot.

That was madness. You’re never going to bring one of those down with a handgun.

I don’t have any particular excitement about working with any specific director or actor at this point.

It has nothing to do with the emotional demands of a role; I’ve done comedies that are as draining to me as any drama.