I've always been attracted to cars, and driving is a completely measurable experience: if you qualify last on the grid, you're the slowest, and if you qualify first on the grid, you're the fastest. So no one can say you're slow if you're fast and no one can say you're fast if you're slow.

I don't like working in a studio, at all. I just prefer to be on location, rather than hearing the bells of the studio going off. It's like being in Las Vegas, where no one knows the time and there are no windows.

The darker the film, the more vital everyone's sense of humor is on set.

If you can jump up onstage and make people laugh, shouldn't you also be able to inhabit a character?

I think you need to be able to see a lot of negative in things in order to extract material, so there's probably something to that. A lot of the people I used to work with were very, very, very unfunny offstage, so that's a pretty common thing.

I've never been someone that's had a five-year plan, or a three-year plan. That just seems to lead to a lot of disappointment, and doesn't give you the chance to be flexible.

I think the beauty of working with young people is they remind you of the spirit of acting and it's just a big play.