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1. black
2. grey
3. blue
4. red
5. brown
6. white

I’m going to Columbia University but I’m trying to keep that low-profile because I don’t want weird people following me there. I want the experience of normal college life.

Julia Stiles

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  I did a different production with a different director and Bill Pullman. Oleanna­ – the one you saw – we were doing right after Bourne Identity or right after it came out.

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  Even after such milestones as Kathryn Bigelow winning an Oscar, there still seem to be few women in leadership roles.

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• 

  I used to struggle a lot with dwelling on how the day at work was, and I would dwell on my performance. Now, I’m like, “Well, that’s over and done with, and I can’t control the outcome, so move on.” I just remember that it’s entertainment I am making.

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  It’s not my job to critique the writing. I’m there to serve it. I had to figure out a way to make it work.

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  I wear everything from hip-hop baggy pants to beautiful Armani dresses. I also like to mix vintage clothing with designer pieces.

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  I’ve really turned a corner recently in terms of not taking work too seriously, so it is much easier for me to not take my work home.

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  In my early career, I look at that time as a series of trial and error and learning as I go.

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  It was nice that there [ in the Bourne Ultimatum ] was a reference to the relationship . It’s very subtle – it’s actually without dialogue. I do think it’s powerful even without words.

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  Yoga has stopped me from destroying my joints after running. It slows me down.

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  I like a director who is very observant and is watching what I’m doing and noticing what I’m doing, but is giving me time to figure it out. They don’t jump right in and give you a note before you’ve had time to really search on your own with how to do a scene.

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  I’ve always been fascinated with the idea of people paying for sex and what goes on with that and why that happens.

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  I pretty much grew up in public.

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  With film, so much is in the director’s hands. Once something is cut together – unless you’re in the editing room – you don’t really remember what the alternatives are.

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  Make yourself useful, not just on a day to day basis, but as a lifetime thing.

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  I remember seeing Janet McTeer in A Doll’s House. My grandmother took me and we had seats in the very back row, but her performance was so powerful – it was very accessible. I felt like I was much closer than I was.

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  I worked regularly from very early on, and some of it was probably a bit premature.

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