When I imagined my life, I always thought I'd be in my mid-30s before I felt capable of marrying. But I suddenly found that I'd met somebody and I said, "Screw it. I'm not gonna sit here saying, 'Oh no, I'm not ready,' and regret not having done this later on and the possibility of not having this person around." I thought, I'll jump into it and we'll figure it out as we go along.
I become a bit of a blank page in public. And that's precisely why I like acting.
The risk element only came from acknowledging other people's attitudes toward it, and realizing that they considered it to be a risk for me to do.
If you're doing your job properly, you take the risk of feeling slightly foolish and delve in and bring out the emotions.
You either decide to take the easy way out, which means you're only going to disappoint yourself and everybody else, or you take the risk right now of being a fool, which is the only way you'll end up being exhilarated later on when you actually watch the movie.
Suddenly people were saying I was cocky because I'd done a Steven Spielberg movie and thought I was better than everyone else, which surprised me at first. I suddenly started feeling like a freak because everyone was treating me differently. It was confusing, and I did wonder if acting was for me anymore.
As an actor, I don't feel like it's necessary to watch a great deal of films. In fact, I think it can lead to imitation and unhealthy competition, which just isn't needed.
I never applied to any acting schools. I don't know if that's just bad reporting, or - sometimes I just make stuff up.
It was always that I finished one movie and then had no idea what I was doing. I think there's a limited amount of planning you can do, at least in the position I'm in. Maybe more successful actors can plan more than I'm able to.
I ain't the first on the list that people are sending scripts to. I'm very lucky. I've managed to put myself in the position with some directors, yes, who will be calling me directly, and we're working on things and talking about things, but that's on a purely creative level. And then you go and have to deal with the financial level.
Planning a career, I always find a tricky thing, because I don't have much of a plan, really.
People always say, "What do you want to do next, what kind of movie do you want to do next?" And I say, "I wanna do whatever script that is the best one that comes my way." I certainly would never say, "Oh, I'm gonna do a Western next," and sit around waitin' for a Western to come along when there's some other genre's brilliant script sitting right there.
I always leave disaster for other people to decide, because some of the things I consider to be disasters are some people's favorite movies. And that's what I like so much, is that you never know. Something intrigues somebody and means nothing to somebody else.
I don't like filmmakers to tell people how they should react to their movies. I absolutely have favorites, and I have others that I'm mortified by, but I keep that to myself. I think I've managed to find some very interesting things that I've been very satisfied with recently. I don't know if that's gonna keep going.
For me, I think the harder the shoot, the more I feel like I'm enjoying myself.
I don't ever really sit back and look at roles I've taken and look at any similarities.
There's a level of confidence in the actor you're working with that really helps a lot. It makes all the difference.
I chose to tell a personal story. When you tell a movie like this that's as emotionally charged as this is, it's a risk. As one of my great cinematic heroes, Francis Coppola, would say, "If you aren't taking the highest, greatest risk, then why are you a filmmaker?"
After the modest success of my first film, I found it very daunting to have to live with that kind of burden of expectations.
Directors go their whole career without being able to tell personal stories and to work with a cast as talented as they are.
It's very easy to leave when things go wrong, but to stick around and to basically give life to a town because of everything that it gave you generation after generation after generation, that to me is what defines a true American.
I think it's important when you're acting to be as relaxed as possible even if you're doing something intense. You're basically in a state of dynamic relaxation.
It helps so much being on location. It's like the difference between performing for the rectangle of the camera versus a world being created and then the camera finds things within that. There's a huge difference in that, because what it takes away is performance. You don't feel like performing. You're just kind of doing it. You're existing.
The blue collar milieu was something that I really understood and resonated with me and I thought was underrepresented in American cinema.
I ain't the first on the list that people are sending scripts to. I'm very lucky. I've managed to put myself in the position with some directors, who will be calling me directly, and we're working on things and talking about things, but that's on a purely creative level.
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