There's a sense you get from the Coens' work, like 'No Country for Old Men,' where you put these characters in situations, and you just let this painful amount of time take place. Part of the tension is just how long it takes to get out of that scene.
Advertising was only meant to be a very small part of my life. I had intended that I would work extensively in journalism for about five or six years and then I'd become a writer.
Well, obviously I'm not Mark Wahlberg – I have much better abs and I look much better in a pair of Calvin Kleins but when I saw Mark Wahlberg interacting with the world, I realised that his stardom was sort of a result of the movies he had done and the publicity that he had got and the work that he did.
I was lucky to work with Gamechanger Films, who are a consortium of investors financing films directed by women. This is a company that puts their money where their mouth is.
Work? I never worked a day in my life. I always loved what I was doing, had a passion for it.
I used to go to work with Dad on the weekend. We'd drive past an indoor go-kart track every now and then, and we went there a few times. I was never tall enough, so I always left upset. I think I was seven when I was the right height, and I was like, 'Please let me have a go.' It was love at first sight.
The real influence on my work was reality, that of my country and Latin America in general.
I'm not a dark person at all, so those roles are the most challenging. I don't think I'm necessarily drawn to dark things. It just seems to work out that way.
That border wall's not going to put one single West Virginian to work.
After Strangelove I also started work on an adaptation of The Collector.