When you are the avatar for the writer/director, a lot of times, I just trusted him. If he had a choice, even if it wasn't necessarily what was my first impulse, I was like, "Billy Ray has been living with this for two years before I even came on board, so I'm going with him."

I took movement classes that I wore my double-breasted suits to. I worked on my elocution because people spoke differently then. I was really trying to toe the line. I think that if I had spoken exactly the way that people spoke back then, it probably would have alienated people.

Everybody thinks that equality comes from identifying people, and that's not where equality comes from.

I like not to know, unless it's something that I need to know, specifically, for how I color a performance.

I had just finished reading The Day of the Locust when this piece was brought to my attention, and I was like, "How do you create art in the system, the way it is?" Looking around the studio film landscape, there are all of these great superhero movies, which is fantastic, especially for my kids, but it's hard to find real art house films in the studio system, these days.

I’m a pretty chill person. I’m kind of a homebody and I like to just hang out with friends and have dinner. I’m not, you know - I’m definitely not Neal Caffrey in the sense that I’m not, you know, drinking a $500 bottle of wine at a nightclub. I’m just - I’m pretty chill.

I'm a long time [Scott] Fitzgerald fan, as probably everyone in America is. And I've always been fascinated by that theme of, what is the price of the American dream and what parts of your soul do you walk away with? The conflict of art versus commerce was also very interesting to me.