I really took it in-house. The Constantine character has a kind of flesh-and-blood practical look at things that would seem, other people would use the word, occult or spiritual. But here, demons are real. So for me it was more taking it from the film itself. I didn't really need to go outside the piece itself to inform me because the perspective on it, what the character does, was provided by the script.

You're playing and you think everything is going fine. Then one thing goes wrong. And then another. And another. You try to fight back, but the harder you fight, the deeper you sink. Until you can't move... you can't breathe... because you're in over your head. Like quicksand.

The simple act of paying attention can take you a long way.

I always felt a bit alone and isolated from other people...I did a lot of pretending as a child. It was my way of coping with the fact that I didn't feel like I fit in.

I don't know if that's philosophy or if that's something else, but to me it [digital filming] has an emotional feeling , that this materiality, the loss of the materiality.

Our saving grace! Um, as a species [humans] we can be pretty warm and fuzzy. But maybe for this, it's the adaptability, or the heart and soul. We're not all that bad. I don't really know!

It carried quite a wallop. I have all the classic symptoms. Reflection. Where am I now? Where have I come from? What's important? Dealing with the moment of a different kind of feeling for mortality. Shifting of the body. Contextualizing or reevaluating behaviors and values. All those kinds of things.