The last movie I did, I was very lucky: I got to work with probably the best actor of our era, Billy Bob Thornton. He's just incredible. I was like a sponge: I soaked up everything he had to say.
Honestly, I feel like I spent the last 10 years just trying to work, just get my hands on the best material I could. I'd like to say that it was quite calculated and genius, my ability to take one step forward and two steps back.
I think the best part in going to the movies is you feel something and you relate whether it's to family struggles or dimming your light for someone. I would say to never dim your light and to really, truly follow your dreams.
You can't do things for money. You just can't act them. There's gotta be something about the script that you really want to do. I wouldn't do a job if I didn't think I could do the best work I possibly could.
I'd be staring at you and thinking, I should ask, I should ask, I should ask; do you want to be in a stable monogamous relationship for the rest of your life?
I took my clothes out of the cupboard and looked at myself in the mirror. I dropped the wet towel. i took a long, clear-eyed look at myself. that i was different was nowhere apparent.
Once you start living together and you see the same person day in and day out, you begin to wonder: was it for this I struggled and toiled? Did he feel that way?
Once i watched you wake up, you had the same frown. "When one gets up, there is a moment when everything looks odd and strange.
What we believe is heavily influenced by what we think others believe
When you do something unusual, the audience doesn't 100 percent know what you're up to in the beginning. And if you're doing a character comedy, they haven't learned the characters yet.
When you think about 'The Simpsons' or 'King of the Hill' or something like that, the worlds tend to expand each episode, because there's no additional cost incurred to hire an animated character.
On a daily basis, you're working with Steve Carell; you're not working with Ricky Gervais. You try a line, and you can't be writing for David Brent. You have to be writing for Michael Scott because Steve is Michael Scott.
It happened to me on 'King of the Hill,' where I'd left it before the end and didn't really participate in the ending, and I always felt a little bit like I wanted to try a different version of that story.
There are Michael Scott moments, which are character choices, but there are also Steve's reads. Usually the things that I'm the biggest fan of are these weird reads that he does - just the way he's interacting with other people.
It's so easy today to get swept up in celebrity fixation and materialism and searching for some validation outside of yourself when we know it's really found within and through meaningful connections with other people.
The concept of portraying evil and then destroying it - I know this is considered mainstream, but I think it is rotten. This idea that whenever something evil happens someone particular can be blamed and punished for it, in life and in politics is ho...
Bond in 'Goldeneye' is pretty much a set character. To be honest, he's another version of Connery, and Connery was terrific. How many submarines can you blow up? How many control rooms are evaporating?
I felt 'Quantum of Solace' completely lost its way. We were lucky on 'Casino Royale:' it was the origin story of Bond. Bond had the one and only affair that meant anything to him, and affected him throughout the rest of the series.
I see myself more as an action director. All right, I do enjoy intense, bloodthirsty action but I like to blend and cross genres. I don't want to be too predictable.
I don't think they're gratuitous with the nudity on 'Game of Thrones.' It's very much part of the world. There's a lot of it, but that's the world they come from. It never is there to distract from the scene or the actors or story.
In theatres, you're kind of disconnected. Also, it's way too big for the likes of me. Unless you're Robin Williams or someone that can fill a stage with movement and energy, it just looks like a small man on a big stage.
