What was it like shooting in Las Vegas?
Because we were actually shooting in Vegas, we spent a lot of time in the casinos and those environments, and a lot of the time that means you're starting in the middle of the night and working until mid-afternoon. They pump oxygen into those places to keep the gamblers awake, so we're all tripping, we're operating on minimal sleep - and this was a pretty quick project, overall, we didn't have a whole lot of time to waste - but everyone starts to feel a little bit crazy after you've been in that for awhile. It'd be three in the morning and I'm walking around in a full length ballgown and I'm thinking 'none of this feels real at all'. What I think is really neat, though, is that when Matthew [Ross] originally wrote the script almost a decade ago, it was set in Brooklyn, which is more my neighborhood, and it couldn't be more different than what you think of when you think of Vegas. I had only been a few times before, and only once for my own leisure, so you have that picture in your head - all the gambling, bright lights, everything's so flashy and unreal. But if you go downtown, there's an amazing arts district that has so many things to explore; there are galleries, boutiques, some amazing restaurants. Matt did an amazing job of bringing that into the film and show parts of Vegas that aren't just the strip.

Knowing this was a story written by a man and told from a male's point of view, was there anything you wanted to add to who Lola is to counteract that?
When you're telling this kind of story and doing it from the male perspective, it's easy to put a character like Lola into a box and say she's the femme fatale of the story, but what drew me to her so much was that she's really more than that, and I could tell reading the script that Matt really had a lot of empathy for her. She's not a bad or malicious person, and she's not trying to hurt Frank or anyone else; her motives are really laid right out for you on the table. She's just not very good at being in love, and that's such a real trait; I think everyone knows someone who's like that. That feeling of wanting something so badly and trying your best but still not getting it was the first thing I connected with, and I just hope people get that understanding of where she's coming from as strongly watching the movie as I did reading the script. There's a lot going on in the film - and I mean that in a good way - but to me, when you get past the games and the revenge and all that build up, at its core, Frank and Lola is really a story of self-destructive people fucking up and how one mistake can be the catalyst that destroys a relationship, and that's universal. Anyone can fuck up.

Read the whole interview with Collider here