I had a lot of different jobs between fifteen and nineteen. I'd moved out of my house way, way younger than I should have. So I was living out on my own with my brother when I'd just turned sixteen. I did busboy stuff, and worked in warehouses, and did odd jobs, and stuff. I earned me some Pesos.

The problem with romantic comedies is you know the ending by the poster. So they're not movies you can keep doing over and over again expect satisfaction somehow.

It's just a moment that doesn't feel 100-percent truthful, a kind of a square peg/round hole situation. Which is why the preproduction on a movie is so important, because you can't just push those through.

He has such a clear vision of exactly what he wanted out of each character, out of each set, out of each wardrobe change, out of each emotional beat, and action.

I learned early on to abandon all those preconceived notions you have about other actors and it's served me really well. I usually just try to empty my mind of that. I love meeting actors and I love working with actors.

Michael Keaton had a great, great career. I do remember when I was a young guy thinking about him, about how he'd had the chance to do it all, so yeah. But, there's nobody where I've said, "Man, I really want that guy's career."

Every time I've gotten myself into trouble, it's because I'm choosing a project based on a long-term career goal as opposed to something that speaks to me at the moment.