The recipe for any character is always very interesting, as far as what doses of certain qualities you want.

I'm on the list that I thought I'd never be on. I'm not sitting here thinking, 'God, I might get this part' or 'is it too late for me to play Hamlet?' It's really about: who do I get to work with? There's so many people on that list.

I remember my brother Nash had just directed me in 'The Square,' and I was sitting in Australia going: 'No one's called me about working for ages. I don't know if I'm ever going to get another job.

I often times find with movies that the heavier the onscreen situation is, the more levity there is off screen. It's almost out of necessity.

I can't sing or dance.

To act with a tennis ball and imagine it's a tentacle, or if you're in some kind of wilderness film and you go, 'Okay, we can't have a grizzly bear here, but imagine when you step over the rock there there's a grizzly bear.' I don't know. They're tough moments.

What I like is having a conversation that gets you on the right page. And, if that means having conversations in lieu of rehearsal - I don't wanna get up and cook the thing before we shoot it but I do wanna know that me and the director know exactly what we both want to achieve, and that we're moving in the same direction.