I do find myself drawn more to pieces that I feel are wrestling with the way that we're living now, what we're all going through.

It's ginned up by the corporate plutocracy as a way of distracting the working-class people that it's screwing. We hamstring our own natural progressivism in this country, and that's really stupid.

You can do things in twin scenes now you couldn't before. You can implement actual moving cameras.

I have this embedded faith in the process through which films of a certain type get discovered on longer timelines.

Well, I don't feel that I've played so many bad guys, and I'm rot really drawn to villains per se. I think a lot of people relate to some of my characters' inner struggles.

Every little thing that people know about you as a person impedes your ability to achieve that kind of terrific suspension of disbelief that happens when an audience goes with an actor and character he's playing.

When you're working on a creative thing, everyone has an idea, and they're pushing it. The first time you work with anybody, you have to get comfortable with the way another person pushes hard for what they want. Familiarity breeds contempt, people say. But I've found, for creative things, familiarity breeds peace of mind, because you realize you know someone better. You trust each other. You know not to take things a certain way, or a wrong way. You get to where you don't have to waste quite so much time with diplomacy. Things are a little more efficient.