With film roles, it just has to be a character either I haven't done before, or a role with somebody really interesting or with an interesting person or group of people.
I'm like the king of the low-budget sequel. People ask, 'What film are you gonna do next?' 'I don't know, but it's probably got a 3 or 4 in the title.'
I'd been an actor in high school, and when I got to college, it was all about film.
A few performances have been left out of the various Woodstock soundtracks and film edits over the years, most notably The Grateful Dead.
An action film can have too much action; picture an equaliser on a stereo, with all the knobs pegged at 10. It becomes a cacophony and is, ultimately, quite boring.
In the midst of global recession, in the face of uncertainty about what's going to happen next, film looks for inspiration to real people.
I could never have imagined the films I've done and the people I've worked with when I was starting out; I certainly did not have a career path.
I think most of my films all have a certain tone or intensity in them. They are tense, and you kind of anticipate some kind of catastrophe, but you're not quite sure.
How did I end up in films with people like Keira Knightley... all these beautiful leading ladies and me - it's kind of shocking.
I believe realism is nothing but an analysis of reality. Film scripts have a synthetical constitution.
Filming is always a challenge because I'm not used to it. But I approach it head-on. I'm not technically brilliant, but it's the spirit that counts.
It irritates me so much the way people talk about soaps because it is far more difficult working on a soap than it is on a big studio film.
No one turns down a film with Woody; it's something everyone wants in their career as an important moment. He's such a comedic genius, without question, so I was thrilled.
With a film, you have to pare down and take stuff out and squish it all down into a 110 page script.
I'll be with The Goat until the fall. Then I've been given three plays to look at and there have been a couple of films have come over the desk. I will probably not do either one of them.
My phrase has always been that I am looking for the versatility of theatre in film. I think I have been quite lucky in that so far.
As we were leaving the Huron camp, it was awkward filming. I think that the Huron watching us was there to create tension - maybe we wouldn't get out. Nothing complicated.
When you grow up on film, people sometimes have difficulties accepting the fact that you are growing up. They always imagine you younger.
I want people to come see my films and enjoy them but at the end of the day you can't control what people think.
I think I might like to try film again just as an experiment, but I know that I could never do the mainstream thing again.
But I've worked where they've had animals before, and animal wranglers, the people who raise animals and train animals for films and television, they're all very, very professional.
