When you shoot a film, you have very little time to waste, and I try to go into the character as soon as possible and stay there as much as I can.

There are some actors that are so gifted, that move you in such a way that every time you see their names again, you go and pay another ticket because you want to have that experience again.

When I met Quentin [Tarantino], he told me what every actor wishes from any director. He said, "I've been through a Demián Bichir marathon. I've watched everything you've done." Most of the time, they don't even know what you've done.

I’m an actor who’s accustomed to bringing a lot of stuff to the table, and you have to be ready because some of them will be accepted and some of them will be rejected. Then you need a generous, free, fearless, loving director like Tarantino to allow you to take those risks.

People say that the brain is a muscle and that one of the best exercises for any brain is learning another language and to switch from one to another as much as you can. I've found out that when I have trouble regarding any character or any particular scene in English, sometimes I'll switch to Spanish and I'll solve the problem that I've encountered. If I'm working in Spanish and I don't know how to approach certain scenes or certain emotions, or how to say this and that, I just switch to English to try to solve it that way and it works.

You don't need tons of money to create art. You do need tons of money to be a part of show business. They are two different things.

As an actor, you know when you've got great material in front of you. When you're working, you think, 'Is this the one? The one that everyone will respond to and be moved by?' You pray that you have told the story well... that your peers will see it and audiences will love it.