For me, the drive is storytelling. To be a part of an art that tells a story and to be a catalyst, a color in that, is very exciting.

When Tetro came out, I met with Warren Beatty for the first time. I had, like, a four-and-a-half-hour lunch with him, and then over the next five years continued to meet with him and go to his house.

The movie [Blue Jasmin] shot very quick. I met Cate Blanchett in the car on the way to set, and we did that last scene, and she was just so phenomenal. I had basically met her that day. Because the way he shoots, everybody just shows up and does their thing, and he moves us very quickly.

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.

I've definitely been spoilt. Every movie I've done, it's always the same criteria: finding a great story, and finding a great part to play.

Whenever you hear somebody else is auditioning for something, you sort of assume they're going to get it. You should try to just ignore it. I don't find it very helpful to know who else is going up for stuff, generally.

It's a little bit about how I felt about Hail, Caesar! and now Star Wars. I could not have predicted those things happening to me. But I'm just happy they come along.