Actors are excused from a lot of things, and we get away with a lot... I find it equally interesting and exciting as it is disgusting and bizarre.
Making a movie like 'Felony' is hard work because you're really putting your own ideas on the screen. You can't hide behind some other person's script; you're saying, 'This is my brain, and I want you to know what I think'.'
Sometimes I think being an actor is like being a dog for a director; it's like they throw a stick, and you want to fetch it and bring it back to them. You want a pat on the head for it.
The downside to making movies at a gallop like we did with 'Wish You Were Here' is that we're shooting four or five scenes in a day, and it's very exhilarating, but you worry at the end of the day that you missed some details because you were moving too quick, and you just gotta trust and be ready straightaway.
'The Great Gatsby' ticked so many boxes for me.
Gene Hackman was a superstar in the '70s - with that face!
I love what I do, but it occurs to me I may have handed over a large portion of my life to fiction.
Everything is a learning process: any time you fall over, it's just teaching you to stand up the next time.
I oftentimes find with movies that the heavier the onscreen situation is, the more levity there is off screen. It's almost out of necessity.
When I was young, I had a very clear point of view on things in life, on moral questions. There was a black and white viewpoint on my world. As I've gotten older, I see the grey areas appear.
I have an issue with the commercial aspect of moviemaking: I don't see why a movie can't make a lot of money and also be good.
Polo is like playing golf with a saddle, and there are a lot of moving parts.
The narrator of a documentary often comes in at the last minute and takes some of the glory they don't deserve.
I blame my work for a lot of things. I thank my work for a lot of things, too, but the trouble with being so passionately involved in work is that it becomes like a lover, like your partner, because it nourishes you.
I'm a pacifist.
I'm not saying I'm a family guy, but maybe that's what people see in me: some kind of paternal quality.
I often put any project I write in a different decade just to roll the thought around in my head. There's a thriller I've written that I think would be nice to set in the '70s or '80s, just to take cell phones away from the movie. There's nothing like the piercing ring of an old-school telephone to really scare an audience.
Sometimes, what's not said is just as important to the writing as what is said. As a writer, we have our voices heard. I think that, at oftentimes, the ability to allow the dialogue to recede properly into the world of the film is also a really valid sort of way to be a writer, I think.
There's a certain relief to just being the guy who puts on the costume and walks onset and gets to prance or stomp around in a Ridley Scott or Baz Luhrmann movie.
All I can say is working with Ridley Scott is a dream come true.
