© Kinema Films

soFem: You also co-produced the film. How did that happen, and what was it like having a different sort of responsibility on-set? 

Naomi: Well, for sure it helps to be a producer. This project had been around for many years (note: over 10 years!) during which we often came very close to making it happen but we just couldn't not get it off the ground! So to be involved as a producer and to use whatever leverage you have is great. This is a movie I felt really passionate about and I did everything I could to make it happen. It required really both the passion and hard work of Ed (Norton) and myself to find the right group of people (The Yari Film Group, who produced Crash and The Illusionist) to give birth to this beautiful movie.

It was really exciting for me to have a say as a producer because you’re not just waiting on the side and trying to figure out what's going to happen - you’re part of the action. Also, as an actress you usually think only about your own part, but as a producer you see the bigger picture, and there are so many other considerations to think about.

soFem: You seem to move with ease from blockbusters like King Kong to smaller, independent films like The Painted Veil. Is mixing up very different types of films and roles all part of your master plan?

Naomi: Well, you don’t want to get bored! And you don’t want to be repetitive. Even so, I get accused of doing dark stuff over and over again, like Mulholland Drive or The Painted Veil. People always ask me why I don’t do something lighter but the truth is that it’s hard for me to find something lighter that I really like! I’d love to find a comedy or a light drama.

soFem: Shall we petition some casting directors for you: 'Top Hollywood actress seeks light comedy'?!

Naomi: Thanks! You just want to mix things up, keep it fresh and stimulating.