When you have to play a character that seems to be a relatively decent person and seems to be like yourself, I think the trick in that kind of character, so that you don't become a cliche, is to find where their weaknesses are.

Oh, this absolute loneliness and the game - loving to play the game, loving to go and tell stories to men that certainly weren't true, just for the sport of it, just to see how they would react.

For me, running is about freedom. I find that the freer I feel, the faster I am.

I knew there was something I had to do yesterday. I couldn't remember what it is. I can't figure it out. I know it's a holiday. I know I don't have a meeting. It's very confusing.

It doesn't seem as if there's that much of a difference between a big production and a little production, other than you have a smaller space in which to get dressed and you have a shorter waiting time.

Oftentimes what happens is that the writer understands one character, but they don't understand the other one, and the other one ends up not being written as well.

It became very clear to the director that it would be foolish not to use our friendship. I had tried to talk to him about it because all the relationships in the film are so, not negative, but antagonistic. There's not a lot of love going around.