I'm one of those actors who likes to do it wrong nine ways before I come to the tenth way, which is the way I think it should be.
I acted when I was a real little kid. My mother was an actress in a Miami theater company comprised of actors from Cuba like her and I was the default kid.
I'm a rational person, and I'm not a method actor. You don't need to call me by my character's name while I'm not shooting.
Ordinarily if an actor gets chosen for the lead in a film, he or she has already built up a repertoire, and everyone knows what he or she is capable of.
I mean, if you are directing actors to do one thing and then directing them to do something else entirely because the one thing you wanted them to do may not work, then you are just shattering their confidence in the project.
I try to leave my work at work, and check my work-baggage at the door before I go outside of here. I'm not a super method actor, and I think that all the answers are inside the script.
All of the actors that have served to me as inspiration over the years have been those more associated with dramatic work who have, in turn, been able to embody their characters and lose themselves in those characters that they create.
I think that the actors that I work with feel safer with me. Because they know I understand what they go through and I don't see them as chess pieces.
My goal as an actor has always been to reach a level where I can find a lot of interesting work, and I think I'm at that point now. The Oscar has given me a lot of recognition.
When I finished my A-levels, I assumed I'd be able to get work as an actor. But I couldn't. I didn't get an audition. Nothing. So I thought I'd better train and then the parts would come.
I've always felt that I would rather see an actor, writer, or musician's work, rather than actually know the person. If you know too much about an artist, it somehow lessens their ability to do their work as well.
You have the massive world that was created by Marvel, and then you have these very intimate actors around you. There was as much character work on this as there would be on a little independent film. So, I felt very fortunate in that sense.
There's a subtleness to camera work. You can really create intimate moments on camera, and sometimes that requires a little more precision from an actor because you have to pull people in as opposed to throwing it to them.
I spent about a year and a half doing technical post work on 'The Fountain'. Although I do like the process, I think my favorite part of filmmaking is the actors.
For the three years I was in school training to be an actor, I was told, 'It's very unlikely you'll work at all on the stage or in film', so I feel I have to take all the opportunities I can.
Work is fun to me. All those years of being an actor and a director and not being able to get a job - two weeks is too long to not know what my next job will be.
The Australian film industry is a small industry, so you have to really be flexible within working in different mediums. A lot of actors work in theater, film, and television, because there's not much opportunity in terms of employment there.
I would like to work with Todd Phillips of 'The Hangover'. I would like to do more comedies; it would be a lot of fun. No actors in particular. I don't consciously seek out things to do.
I just happen to like the work. I like preparing for a role. I like reading. I like analyzing. I like literature. I like emotions. I like working with other actors.
A lot of parents tell their children that if they want to be an actor, that's fine, but they should do something else first, so they've got something to fall back on. It doesn't work like that, as far as I'm concerned.
I always wanted to be an athlete. Then when I realized that I can't run very fast, jump very high, or catch anything, I thought, 'Maybe if this doesn't work out, I can be an actor.'
