I like the conscious manipulation that a great director can have. When you're both complicit in the manipulation of an emotion.

You run your plays, you know your plays, you study your plays, you study the other team, you do as much as you can, you go to practice, you get in shape, you do what you need to do, and then by the time you get to the game, you know your plays, but they have to feel like they're in your bones. That has to be an unconscious thing, it cannot be conscious. That is everything to me.

I don't think I'm sharp enough to not prepare and come on set and kill it.

By cool, I don't mean cool. I mean vulnerable and a mess.

I always find you go back to an animal; it will always show you the sort of primal aspects of behavior. You always know how to respond if you choose that.

I think, when someone say, "When did you feel like an actor?" it's those moments when I feel like, "I'm an actor, wow." That's an extraordinary moment for me. So it's not like I walk around going, "I'm an actor."

Sometimes what I actually love to do is go to a farm and get fresh milk or watch a pig get slaughtered.