With 'Hail, Caesar!' it was about all the skill sets I had to learn, but each movie requires a different way of working. You're a piece in a new world, and there is always a difficult part within that world. For me, it's not consistent from movie-to-movie, each film has a central challenge.

I had the opportunity to learn more about what life is like for a soldier [in The Yellow Birds].

That's something that Francis [Ford Coppola] would always say. I remember when I was doing Tetro, he said, "Stay innocent. I'm 69 years old, and I'm still innocent."

The actors at that time had to learn all that stuff, it wasn't just hyperbole. What was appealing to me about being an actor at that time is that there was a home base, with job security. You were employed on a regular basis, and you had to sometimes do things you didn't want to do, but it was there. I also liked Hobie Doyle positivity.

[ Woody Allen] persona in the films are so iconic; it's like on par with Groucho Marx or something like that.

By anyone's measure, [Warren Beatty] is proven himself. But he still sets out to make something as great as it possibly can be.

Let's say [Warren Beatty] wants you to speak louder in a scene. He won't stop playing the role and say to you as a director, "Will you speak louder on the next take?" He'll say it as Howard Hughes: "I can't totally hear you. Why don't you speak up a little bit?" To kind of keep this rhythm going.