B.L. How difficult is it for you, when you are making an American film, to lose your accent?
B.C. It's getting easier. It's something that is part of your job if you get cast in a non-English role. But I have to say it's getting easier. The more time I spend here, the more exposure I have to Americana. I also have a good dialect coach who helps me a lot when it comes to changing my accent.

B.L. You also did a lot of research for this film. Your character had to deal with a lot of the technical forensic stuff and I understand that you really got into it.
B.C. I didn't learn that much about forensics to be really honest. I wanted to get the feel because you could never learn enough in the time that you have. It's best to just learn the technical jargon and know what it means; the stuff that you have to say in the script. Forget about the stuff that you are not going to learn and just learn about basic crime scene procedure. There are just certain ways that you have to walk on to a crime scene that the police helped us with. I found it quite fascinating.

B.L. What was the most fascinating thing that you came across?
B.C. I was talking to one homicide policeman about how you get called in the middle of the night on a murder. But that you'd have to go out and you'd be driving there and be really tired and not feel like going. But it's your job, and you have to be hardened to take this on. So you have the attitude, "Oh it's just another murder". Then you get there, and you have to really psych yourself up, get energized to do this because the first 24 hours are so crucial. If you don't get stuff, then you could blow the case.

B.L. So that kind of thing must have made it real for you.
B.C. Yes, these people know it's a life at stake every time. They are the victim's lawyers in a way; they care about them but they can't relate to them. It's a tough job. Once you start relating to them, it gets messy; like it happens in this film. There's a real dangerous line and they have to stay dispassionate to look at it fairly.

B.L. There's an interesting dynamic between your character and Sandra Bullock's character. You had some moments that were really intense and then there were some other times that were pretty hot and steamy.
B.C. I have been doing that a lot lately ... I am very hot and steamy.

B.L. Not too bad, recently there was Nicole Kidman in Birthday Girl, and now Sandra Bullock.
B.C. Oh, movies; I was talking about my real life. In real life, I am hot and steamy!

B.L. When you do scenes like that, some actors say it's uncomfortable. I heard that you have said that doing love scenes embarrasses you. Is that true?
B.C. Yeah, it's an embarrassing thing to take your clothes off in front of people and simulate sex. I think that if you get a kick out of it, you need to go to the doctor! Look, it can be fun in the way something really embarrassing can be fun. You know when you do Greek dancing in a restaurant, you really don't want to do it. But after you do, you are kind of happy. You did it because it was so humiliating in a good way. That's how a sex scene sort of feels. There is some bonding, but at the end of the day, you'd rather not go out there and do it. That's how I feel. But it was fun with Sandy, and not that she is not extremely attractive, but I just knew her in a different way. She never takes things seriously and as soon as you cut, she is messing around. I'm like that too, so the combination of the two of us together was devastating. When it came to the sex scenes neither of us could take it seriously, and that's not a comment on either of our personal sex lives!"