I think so, Silence of the Lambs was a great, suspenseful thriller and I would expect Red Dragon to be similar. And I think it's very character driven.

When the time came to make a decision about what do in life, I found myself thinking that acting was the thing I loved to do, so I applied to drama school. And then, I didn't get in - twice.

When I did get home this last time, we had all these plans to go out. And then we hardly stepped outside because the time together seemed too precious.

I don't think I will be less good because there's less pressure on me.

My husband. He keeps me grounded. If I were in the world on my own, it would all be much more seductive. But I'm in a relationship that has nothing to do with the film world.

You have to play the logic of a character.

During Breaking The Waves, I was on my own in a hotel room. I think I would have been impossible to live with. When you go home, you have to pretend to be the person you are at home.

It's a whole different kind of anxiety. But the great thing about doing a theatre job is that once the ball starts rolling you just have to go with it, it's inexorable.

It's an incredible privilege for an actor to look into the camera. It's like looking right into the heart of the film, and you can't take that lightly.

I was a normal, rather dutiful child. I didn't even rebel as a teenager.

I always think I am going to do my best.

I grew up without a television. It meant that I read lots of books and entertained myself.

The film Punch - Drunk Love is how you see the world when you're in love. You don't see somebody's psychological baggage necessarily, you see the person walking out of the light.

Yeah, a lot of people think I'll be a tortured nutcase when they meet me.

My character Lena is somebody who responds to people in a very simple way. I didn't have to take myself off to a darkened room to concentrate, I just had to try and be open. It's an interesting, subtle relationship.

I think so, Silence of the Lambs was a great, suspenseful thriller and I would expect Red Dragon to be similar. And I think it's very character driven.

And it is very sexy as well: somebody says I'm taking you on a surprise date, you don't know where you are going and you can't see and then you put your hand out and there is a tiger. Amazing.

As actors, we went where we wanted to, and the camera followed us: it was like having another person in the room. There was no formal structure to the process. It was very liberating.

I've always been creative, I think.

I do think you feel a little bit like you are preying on people's lives.

I don't know what makes a marriage work. My husband and I don't have it right at all; it's very tough on him. From the outside it looks like it's all about me - I have a glorious career and he doesn't.

I have to be a lot more calculating because I'm a very private person. I actually really struggle with the attention; I'm generally a pretty shy kind of a person. So it's tough figuring out how to manage it. But there are ways of managing it, and you just have to be smart.

I sometimes feel like it's difficult for people to relate to me, until they spend, like, a day with me, and until they walk around with me in public.

I was a pretentious child. I grew up without a television. I read a lot of books and I loved Shakespeare. Still do.

In my early career I was like a goldfish. Rejection didn't affect me; I'd just forget how bad it was and keep going back for more.

Believing in God is a very intense inner struggle of mine. Its something I worry about a lot but which I dont have the answer to.

In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.

I do like to embed a fictional character firmly in an occupation.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.

Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.

I liked Huckleberry Finn and Tom Sawyer, and that is the kind of character that I would like to have played. That would have been more in tune with who I really was.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

In a lot of ways, the make-up was the character.

The more we study the Indian's character the more we appreciate the marked distinction between the civilized being and the real savage.

So many people have said that to me, that what they really like about Alex is what she brings out in Marissa, and what this situation brings out in her, a hint of happiness and another side to her character.

I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.

It is not true that drink changes a man's character. It may reveal it more clearly.

Because I killed a guy in real life, and because my character kills a guy onstage, they said I could never do anything this great again. I resented that.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!

I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow.

If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.

Every character I play has to be the hero of his own story, the way we're all heroes of our own lives.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.

Character is power; it makes friends, draws patronage and support and opens the way to wealth, honor and happiness.

You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.

In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character.

I feel like I'm the most well-adjusted character on the show, even though I'm sure the other actors would tell you the same thing about their characters.