In work, never have any regrets and always leave everything on the field.

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.

In a perfect world, I would love to do one play for every three movies.

But you need to strive to try and communicate and try and change things in a similar way. And then people can think that's pretentious or whatever, but it's your life's work, and you've decided that. That's what they made us believe. So we have a pretty high standard, which is at times great and at times not.

Working with Robert, Robert [Elswit] is a storyteller. He's not a cinematographer, he's a storyteller. And to me, that's the graduation I hope to get to in my profession. That I'm not just an actor, I'm a storyteller. And I think that takes a long time in, when you have one job on a movie set. Makeup artists, actor, whatever. To graduate from just that to storyteller.

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