I actually remember getting asked when we were at the Cannes Film Festival, what I expected to do next. I remember feeling like there was no way I could've imagined that something like Tetro would have happened to me.

Some movies, I think, present ideas of the world that just don't help people with their lives. They just present things that are fleeting or stupid. So that's what I'm careful about - making sure I'm part of something that is saying something that I think is valuable in the world of people, not necessarily in the world of art.

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 remember calling and asking, because I had a few lines that were like, "How could the character have done this?" and I hadn't read the part of the script that said what she [ Cate Blanchett] did, so they put me on the phone with Woody... Allen. I don't know if I could really say "Woody."

But even a kid, directing was something that I did. I made short films in school. I feel like I've been in the best film school in the world.

Each film and each character is a completely new set of challenges. It doesn't feel like you can rest on something you may have done well in the past.

Like I've known Francis [For Coppola] for so long I think, "Oh, Francis." And then you see his name on something with The Godfather, and you go, "Oh, yeah. He's also that." The person you knew of before you met the actual person.