I have an overactive brain, and as a result of that, I can really get in my own mind. So I like to try and exercise it to the point of exhaustion.

I was brought up, and my sister too, with two people who were always saying, "What you do is really nowhere near as important as the things that are going on in the world, and if your work needs to reflect that, or you want it to, then you need to strive for a certain type of excellence."

I have a profound respect for cinematographers. That is my secret sauce. Like they are everything to me.

I walk around thinking job to job, trying to not have regrets.

Heath [Ledger] was always somebody who I admired.He was way beyond his years as a human, in a way.

When you find theater writing like in the theater on film but it's realistic, it doesn't matter who the character is, you want to do it.

I don't think I had any idea at the time how to work with someone as masterful as he is. And I don't think at the time I really understood what was happening. I think I was in a space where I was like: there are all these things. I was shooting all these takes with David, and I was just confused, as a person, and as an actor feeling a little too big for my britches and that this thing was happening and then also not having enough skill yet, and technique to know exactly where I was, and know about the character.