I've always thought Mexico City was incredibly dynamic.

Setting goals can blind you to opportunities. You might be trying to get to point C. When opportunity B comes, you don't even look at it because you're going straight to C.

If you're working on a movie, you want it to be projected on the largest tapestry possible, and the sound to be perfect, and for that kind of communal experience of the movies to take place for it.

We all have to lead double lives, not just celebrities. The face we put on publicly with our jobs and certain situations. I think that's part of the human condition.

Regardless of the weight of the role, I feel like the job is always kind of the same. Who is this person? What's this guy here, what's he trying to say? And what's the volley with all these other people around him? So I don't feel like that part of it changes. I have not reached the point - if there's a point you reach as an actor where it's, "Oh, I got this figured out, I know how to do this". But I am happy to say that the primary building blocks of where you start, at least, there is a little bit of sameness to that. And that's always nice.

I was 12 when my parents told me we were moving to Lebanon. I remember thinking, 'Leba-who?' I had absolutely no concept of the place.

I had interest in acting. I started as a drama major in college. I got to school and said, "What am I going to do with this?" But I didn't know anybody in the business, and it seemed like - I don't know. I had a teacher who said "Less than 1 percent of you will ever make a living being an actor." That was how we opened the semester.