When I worked with anybody like Woody Allen, there's the name, and your understanding of who they are before you meet them, that stays in your head a little bit.

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.

I grew up watching a lot of old movies, so getting to ask about making movies in the '70s and people he was friends with, like Orson Welles, Lillian Hellman and Charlie Chaplin, and hearing a first-person account was pretty incredible.

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.

That's a lot more legitimate than the retail therapy I do.

[Warren Beatty] is voraciously detail-oriented.

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