I had one line. My two larger scenes had gone fine, and then on that day I screwed up that line over and over and over again. And every time I screwed it up, they can't use the whole thing because they're only using the one shot [in Blue Jasmin]. That was my last day.

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.

Woody Allen is kind of the one example I don't have. Because the way he works and the amount of shooting time that I did on that film, I didn't really get to know him, so he kind of stays as "Woody Allen" to me.

It's always been very important for me to be surrounded by people. It's never been enough for me to be successful alone. I want to be around people my own age who are also doing things I can learn from. And something Francis Ford Coppola said when we were doing the movie was, "If you learn something about people when you do dinner with them every week, you'll learn a lot more if you play softball with them every week." This is us learning what the climate is creatively among us.

I really feel lucky that I still feel excited about the actual work that I get to do. I just happen to love it, and I could easily see, for somebody else, that not being the case.

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.

I got turned down for a million jobs until I got my first movie with Francis [Ford Coppola].