Making The Conspirator was a combination of two things for me: Going back to the roots of when I first started making films, rather than just acting in them, and having to work within very tough limitations. The film’s schedule was almost impossible. There were people saying, “you can’t do it, it’s just not going to work.” But that is, in itself, a challenge. It sort of makes you want to do it even more. The drive and the energy to make The Conspirator happen just felt good. It became a labor of love in a sense. I’ve made films over the years that were big budget and others that were very, very low budget. And when you put them all together, the ones you have to fight for become the most enjoyable.