If I could get myself in an editing room, that'd be trouble. I mean, that's how it works, you know? You leave everything on the field. I would pick apart - I do, even on the first time. More than once is just too much self-destruction. I don't need that.

It just so happens that when I was, like, 19 or 20, I got a couple of auditions and got a couple parts with good people. Of the thousands of auditions where you don't get the part, I've done a couple of jobs where you do it and you're like, "Okay, this is good."

The first time I went to Daniel's [Radcliffe] apartment to just hang out before, because we're doing this crazy thing together, right away he said, "Do you want to put your hand in my mouth so we can get used to this?" And he was really ready to go. So we broke down any barriers pretty quick.

I feel like having something that you're passionate about helps to keep you young.

In tragedy, it's hard to find a good resolution; it's not black and white: it's a big fog of gray.

[Swiss Armi Man] was a super joyful film to go make. I mean, there was stuff that was, like, totally bananas. But it was kind of par for the course every day with that stuff.

For me, playing a really bad character is about figuring out what brought the person to where we need him.