There's something really unique about 'Orphan Black' is that it has a lot of female leads, so it's about a lot of women's stories, but it's not women's stories in terms of trying to find a guy or keep a guy; it's about entirely other things.

Clothing and makeup and hair and all of that so much indicates the kind of person you are inside and the person you are presenting on the outside. Sometimes they are in conflict, and sometimes they are the same. That psychology of the exterior informing the interior is just so interesting.

I was in a Nativity play as a kid. Back then, I played the donkey.

Something like 'Rust and Bone' would be a dream. Very pared down. 'Orphan Black' is such a challenge. I just need something that isn't as full-on intense as that.

All of the art that I love is about peeling back layers and delving into something that's in a subconscious or dream realm. People like Jan Svankmajer, or the artist Yoshimoto Nara, or David Lynch.

Being on a trapeze is like dreaming. I feel totally outside of myself when I'm flying. You know, designing shoes, my imagination is flying in my drawings.

I'm preparing for a multimedia theater piece, Airport Music, that's coming up in New York City.

I grew up as an artist. Science fiction allows for design and creatures and guns and all the stuff that I like as well. So I think most of the films I make, I'm sure, will be in that category. But I can also see myself making a film like 'Black Hawk Down,' and I could also totally do horror.