But moment to moment, smile to smile—there are an uncommon number of gentle smiles, and many of them are Thirlby’s—from emphatic sound design to precise framings, Nobody Walks is decidedly a movie about variations (and variables) of feeling and sensation. It leaves a bittersweet bruise.

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But Thirlby’s Martine is more of an enigma, seemingly untouched and blasé about what she has wrought on the family. Perhaps that’s the point. And her vagueness as a character is a result of the fact that she doesn’t yet know who she is either. But if Nobody Walks is also her story, viewers might appreciate getting to know her a little better.

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I’ve added 2 new sets of photos to the Olivia Thirlby Fan Gallery – one event she attended over Golden Globe weekend as well as new photos from today at Sundance!

So things get pretty physical with your character in ‘The Darkest Hour.’ I heard you did all your own stunts.
I did. I got banged up with a lot of gnarly bruises, but it was fun. It was interesting. It took a lot of endurance.

I’ve always been curious if doing your own stunts is actually fun.
It’s a kind of a matter of necessity, like some things they can’t use a double for because they need to be able to see my face. It’s also a matter of what kinds of stunts there are, like there’s certain stunts that I wouldn’t have been capable of doing, but all of our stuff for ‘Darkest Hour’ was me on the rig hooked up to wires. It was mostly just falling and being dragged.

All the aliens in this film are computer generated. Is it tough to elicit that type of emotion when what you’re supposed to be freaked out about isn’t even in front of you in the first place?
It is difficult to shoot in that respect, because a lot of the time the things that you’re supposed to be reacting to don’t exist yet, so it can be a challenge in that regard, because you do really have to use your imagination to convincingly seem like you’re terrified of something, which at the time the camera is rolling, it is completely not there. When we were filming ‘The Darkest Hour,’ we didn’t even know what the aliens were going to look like, we didn’t even have a graphic reference. So it was defnitely a big challenge to sell those kind of extreme moments when you’re just generating them from your own imagination.

So you’ve got ‘The Darkest Hour’ and the ‘Dredd’ coming out. Were you a big sci-fi geek growing up?
To be honest, I wasn’t a sci-fi geek at all. But I do love a good sci-fi film, especially one that can really take you away. And I read some reality-bending novels growing up, like stuff by [Kurt] Vonngeut, so I already had one part my brain open to the unnatural and unusual, and it’s generally fun to venture into that world and film in it.

Did you even bother watching the original ‘Judge Dredd’ movie with Sylvester Stallone, or did you want to go in with a clean slate?
I actually didn’t watch the original one intentionally, and I still haven’t. But I think that at this point, it’s not an intentional choice. I am excited to see [the original], and whenever I have the chance [I will]. But during shooting, I decided not to watch it, just because the film we were making really has nothing to do with it, and I didn’t want to get influenced by it at all.

With ‘Dredd’ — and to a certain extent, ‘Being Flynn,’ based on ‘Another Bullshit Night in Suck City’ by Nick Flynn — do you feel more pressure because both of them have an established fan base?
Yeah, definitely. Of course, the Nick Flynn fan base is very different from the ’2000 AD’ fan base [laughs]. It’s a little daunting [for 'Dredd'], where I am personifying a character which already exists very firmly in people’s minds, and that people have an attachment to and have an affection for. But my hope is that people respond to it and they feel that it’s something that complements their imaginations and the ideas that they already had built up, instead of conflicting with them. All I can do is hope and pray that I won’t be disappointing anyone.

Read the Full Interview Here