Cannes or any other major festival is basically an animal in its own nature, creating very specific perceptions of films in a moment.
New York is a character, all on its own, and whenever you film there, it becomes part of the show. That's just the nature of being there.
I did literature at university, so I had a real relationship with poetry, but they don't make many films about the world of a poet.
Film's hard when you don't have any relationship with the director at all and you just show up. Then you really are just a gun for hire.
In a big Bollywood romantic film, taking my shirt off and spreading the hand towards the mountain with dancers behind me are not my cup of tea.
I probably never would have been hired on Broadway had I not moved out to L.A. and pursued acting and film, which is sad, really.
It has nothing to do with commercial success. You cannot calculate in your head how to put the mosaic together to make a commercial film: that's out of the question.
Whether you think a film will affect society or it's plain entertainment, it's all excellent, it's all noble.
A lot of my films have dealt with the dark side of technology and stress that you have to examine the ramifications of progress.
I love festivals because I feel like I'm more of a movie fan than a person who's in the film industry.
I'd love to work with Sir Anthony Hopkins, but if that doesn't happen, I'd sneak on to a film set and watch him at work. He is a compelling actor.
My love for the theater has always been a priority. That hasn't changed. I got into acting that way. The film work that came up was really a surprise.
I love doing comedy and I love watching comedy... I'm more inclined to go watch a Seth Rogen film than a serious Oscar drama.
I'd actually really love to review books and films and plays, but you can't be an artist and a critic. I would love it if I could.
I really respond to human scripts, scripts that are raw and real and risky. I love playing scary characters - not horror film scary, but vulnerable scary.
My very first acting gig was in a movie for Russ Parr. He did this movie called 'Love for Sale,' and that was my first role in any film.
If I'm working on a film, I'll do sit-ups for before I shoot. Like, 100 in the morning or something.
Whenever I don't get injured, the film is a dud. I didn't bleed on 'Rhinestone.' I didn't bleed on 'Stop! Or My Mom will Shoot.'
The secret to a long marriage in the film industry? Marry someone wonderful, as I did. And always have her come along on location.
A film is like a mad arranged marriage, with all these people who don't necessarily want to be with each other forced into this intimate, exhausting process.
I definitely want to study film. I'd like to have my own studio one day and just make a lot of movies.
