I think I'm more bonded, emotionally and in a craft sense, to films that tell extraordinary stories about extraordinary destinies.

I do remember, as a child, that I always imagined, when I was maybe 6 or 7, my fantasy was that everywhere I went I was being followed by an invisible film crew.

The environment forces you to be utterly dependent between "action" and "cut" because the environment is perfect on your fellow actor. So as an acting exercise, it's absolutely thrilling that the focus that we had to bring to each other echoed in life, echoed in art. And when you get that parallel, it's really thrilling and it's full of surprises, but it all has a logic.

My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.

As a singer, I might have fallen among thieves. I wonder if I'd still be alive by now.

I think the cinema you like has more to do with silence, and the theater you like has more to do with language.

You don't go to a town to present the play and have applause at the end of it, but that's benign conquest. It's a glorious way of exploring other landscapes and other cultures in a very life-affirming way.