PARKER POSEY: Oh, right. From 'Blade.'

PRESS: What is it that you like in these films because you keep doing them?

POSEY: It's so funny that everyone actually believes that you chose what you do, but it actually chooses you. To play kind of the darker parts in Hollywood movies I kind of like. I had heard that they were interested in me for 'Superman,' but you hear that and you wait for a couple of months, and I was doing 'Hurley Burley' in New York and I was like, 'Am I going to get that part or not? Can I read the script?' 'No. You can't read it. It's top secret.' Then I heard that I'd got cast and they flew the script out with a man who gave it to me to read in a coffee shop in the East Village and I read it once and I felt like I was in a Tom Cruise movie, 'Minority Report' or something, because it was so secret and all that type of stuff. So I read it and I got the job and I was really hoping to love it because I loved the original movie so much and I read it and I was so pleased that it kept the emotional life of Lois and Clark and Kitty Koslowski. I think that in a lot of movies like this there's a graphic element and in the wardrobe and in the way that they behave is slightly exaggerated, but this movie seems to have an attitude of kind of old Hollywood. It's very grand in that way. It's warm. And when I read it, it didn't insult me with the action. I was moved by the, I guess, things that moved me when I watched 'Superman' as a kid. Those were the things like a boy who came from another planet who didn't know who his parent's were and it's still a journey to a father. And there's a mother in the story now, Lois Lane, and Kitty is kind of a mother too with the Pomeranian. And that's all I'll talk about [Laughs]. So there was like some really kind of great dynamics going on between Lois and Clark and Lex and Kitty. They have the same relationship that we saw in the Gene Hackman and Valerie Perrine part where she is not really a villain as much as she is a romantic who's made mistakes. So that's kind of what Kitty is to me. But also as an actor she's a character in a movie like this and is kind of in that '40's tone. The humor in it is sophisticated I think in that there is some pure humor that is sweet and I think that makes it sophisticated today. I'm just rambling on at this point. I haven't really talked a lot about it because there have only been a couple of journalists on set and I'm not working today.

PRESS: Do you have snappy patter in the movie?

POSEY: Snappy patter? I don't think so. Smart writing. Oh, God. How to describe her? We talked about in the beginning about Lex as someone who can go under disguise and can be anyone he wants to be. He has his wigs and his things. So Kitty is kind of like that too. She is the female who can go out and go under cover like in the original movie, but what would happen if - it's the backbone of the original, but it's just spread out more. She's just as smart as he is if not maybe smarter. Although, she doesn't release her cards which are really close to her chest. That's where the humor is. She says something really obvious that might sound a little dumb, but she's actually correct and he's an ego maniac.

PRESS: Were you excited about working on this with Kevin Spacey?

POSEY: Well, when I was doing 'Hurley Burley,' that's how he got his start. He was the understudy in 'Hurley Burley' and then he got discovered when he was doing that play. So I was almost going into this one like, 'Do you want to run lines for this play?' That's a three and a half hour play which is a lot of parts to understudy and I know from doing the play, I've heard stories about how crazy it was. So he's someone who's had a really full career in theater and in film. He's very talented. So you never know what to expect when you work with talented and successful people.

PRESS: And you're working with another Pomeranian?

POSEY: Yeah. Her name is Molly.

PRESS: Aren't you not supposed to work with kids and dogs?

POSEY: Oh, right because you can be upstaged. Molly can really find the camera and is very special. She's pretty funny.

PRESS: Did you let the previous films influence you at all?

POSEY: Yeah, I think so. I took a lot from Valerie Perrine too. I took a lot from her. I really saw her in those movies. She's not really a villain. She just made some bad choices. She's not mean. She's really open hearted. I don't know. There's a lot to her. It was like wouldn't it be great if Kitty was really a German spy from the '60's all of a sudden because this movie kind of has a feeling that it's an homage to movies. Bryan Singer is such a fan of movies that he brings a lot of intelligence to filmmaking.

PRESS: I'm sure doing a big Hollywood movie you get asked by journalists all the time about being the indie queen!

POSEY: Oh, other people ask me about that too.

PRESS: Is there as much to create with a bigger movie as there is in a smaller film like in say 'Personal Velocity?'

POSEY: No. It's on such a grand scale that I think it's hard to kind ground of yourself with a little character where the sets cost more than countries. It's kind of trying to figure out the scale of it, going to the Fortress of Solitude or there is a lot of green screen around and so you have to use your imagination and figure out what your place is in it. Sometimes I felt like I was in 'Scooby-Doo' and I didn't really have a reference. I didn't know what the tone was and the set was so big. But I watched some dailies and saw some of the footage and there's a kind of majestic feel to it. There is a weight to it. And then you do the independent films and there's not a lot of that at all because it's more intimate on a personal level and not in an art department, prop, character costume level. It's like the movie can be drawn and sold as a comic. It has that kind of aesthetic to it which is very different than the Chris Guest movies.

PRESS: Is there a correlation in working with green screen where there's nothing there and improvising where you don't have anything to follow?

POSEY: Just stuff like, 'Where am I and what is this?' You just have to picture it. There's not a real correlation there because you're waiting around all day for everyone to light this green screen and these lights on the ceiling that are heating up the room and you just kind of very easily walk around set and go, 'Which way do I look?' because you've been waiting around. So you can't really get set and that's a lot of the work on these big movies, keeping grounded and focused and keeping the story really close to you in your head and in your heart and what you went or have to go through.