We have a demon, we have an angel inside, within our souls, and you just play with it, and sometimes the evil part of you wins the battle, in a very important decision, or in a bedtime, with your lover. Sometimes you win, sometimes you lose.

One wants to think that - and this is really a stupid thought - that through your art or whatever you do as an actor you can actually affect someone else's lives and thoughts or whatever.

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.

My two brothers and I grew up in the theater, going everywhere with my parents when they performed.

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.

If you think about portraying Americans, for example, in a Russian film, it all depends on where the American is from, if they went to school or not, and if they're well-educated or not. Is it an American from Texas, or an American from Brooklyn? Things would change with the vocabulary and the accent.

A lot of people love Tarantino’s films because they’re spectacular, they’re beautiful, they’re wonderful. He hires the best group of artists - not only actors, but everyone around: best photographers, best set designers, best production designers, costume designers. A lot of people love his films because they’re bloody, they’re gory, they’re savage. But very few people see that he’s a very political director.