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.

As an actor, I feel like I'm somebody who, when somebody gives me a mark, I don't want to hit it. I don't like that. But then, without even knowing it, I just hit it.

I don't have a "I want to play this or that," I just don't have that. I've never been like that.

We are all from different cultures. Heath's [Ledger] Australian, really. I'm from here. Ang's [Lee] from China. But I think Ang gets very close in preproduction and rehearsals. And then he allows his actors - I don't think scared of actors, but I think he's scared of getting in on the scenes he's watching. The space he's watching. So he just totally disconnects from you while you're shooting.

I could draw ideas. I remember writing a paper for a seminar class. I remember writing a paper about - and this is going to sound really sort of pretentious, but that's where my mind was at the time - how acting and the performing artist can really be like a Bodhisattva, how they can communicate ultimately an idea in a way that can move and shift things. And that was wonderful. I didn't know many classes where I could try and relate the thing that I really loved and wanted to do into an intellectual idea, and that happened to be one of them.

We all develop relationships with each other based on our first relationships, and then how we experience them. But inevitably they are echoes of earlier on. In my belief.

I've decided as an actor the only, the power I have really is in the performance. It's the only real place I get to sort of communicate.