You get to the middle of a take that's going really well and the camera will run out of film. They have to stop you, apologize and then you've got to get things going all over again.
I discovered that silent film is almost an advantage. You just have to think of the feeling for it to show. No lines pollute it. It doesn't take much - a gaze, an eyelash flutter - for the emotion to be vivid.
We cannot turn our back and say that violence in films or anything that we do doesn't have a sort of influence. It does.
I've got four piercings in my left, so we've dubbed my right one the 'period drama ear.' I have to be filmed from that side when I do emotional close-ups in 'Downton.'
I had travelled pretty widely around the world even before then, so I knew where to go to film wildlife.
But it's a strange thing when people judge you because you're not doing some big Hollywood film. Are you suggesting I should be in 'The Dukes of Hazzard?' I mean, hello?
When I'm not filming anything or on the road doing stand-up, I'm usually doing stand-up shows every night - usually a few shows a night at different clubs in the city.
When people are feeling insecure about their jobs and there are cuts to be made, it's hard to put up an argument that the film industry needs funding.
When you make your first film, there is a hell of a lot to think about, and you've got to have a gut understanding of your material.
I had the feeling that Sarajevo was the perfect place to shoot the film I wanted to shoot. It is the perfect illustration of purgatory.
In a series, you really need to stay open-minded. It's not like a play or a film, where you can create and fully commit to your character's back-story.
I started writing and acting in these little plays and then I was discovered by Dustin Hoffman. He got me my first audition for a film he was in, called 'I Heart Huckabees.'
I didn't go to classes there, but ended up at the Cinematheque, and there it opened up even wider because there I saw a variety of films from all over the world.
There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!
Violence is used to portray what happens in a film. It only helps portray the actors and what they do. I think it is more about the story, when you have something to play off of.
My father was a big Bruce Lee fan. He's Chinese-Hawaiian, and my mother is Chinese. He used to take us to all these really fantastical films with martial arts in them.
There's something magical still about it when I get in a darkroom, and you've shot a roll of film and you develop it and you look at your negatives, and there's, like, imagery there. That always stuns me.
What surprised me about the Oscars was how familiar it was - because you're in the room with all these people that have inspired you from your childhood to adulthood in the film industry. It feels like you've known them all of your life.
Cinema has become my life. I don't mean a parallel world, I mean my life itself. I sometimes have the impression that the daily reality is simply there to provide material for my next film.
I have seen 'Thor', yeah. It's fantastic. Being that close to something, it's often pretty hard to watch yourself, but the film in so many ways is so impressive that I was swept along with it like an audience member, and that's a pretty good sign.
What I'm looking for is a self-promoting film; a movie which immediately gets people's imagination is something I can promote - a project which writes its own publicity.
