I like the personality of the Belgians. They're deeply eccentric, which is something that comes across in their design - terrific.

It's difficult to keep in touch with someone when you're moving around all the time. I've decided that you can have it all, but you can't have it all, all of the time.

If you only took on roles that had the same qualities, then I suppose it might make a critic feel better, if he can see some kind of bedrock. Perhaps that's the old definition of a star, someone who's always going to come up with the same goods. But it intimates limitation to me and I don't want to think of the job like that.

If somebody says, "Oh, we're going to improvise!," I'm like, Oh, get me out of here.

If I don't believe in a role, I can't pull it off.

The writing is the springboard for your intuitive stuff and then you see, maybe a colour of what you want to achieve. Then you bring in the technique you've learnt. But when you're on film, you're not always in control of that. That's what makes me believe in a kind of collective unconscious, a sort of experience you draw on.

I'm not someone who can lie on a beach and do nothing. I am not sure what you are supposed to do, so I get bored. I prefer to have a purpose, such as going to Alaska to see orca whales.