It's exotic for me to be given a script that's already written, and be given a pay cheque, and asked to dress up and play, and that's all.

I've only ever gone into studio films with people I really like.

Alexander Trocchi was an existentialist. He was looking at an alienated artist in the post-war period. It's modern because it applies now as well.

I've been on the other side of the table many times, trying to get people to be sympathetic to projects, and I've been the victim of that kind of intense kindness masking extreme stupidity.

I'm a huge Marvel fan and the fact that they take the liberties that they do in filmmaking I think, if anything, that it dignifies the comics and it says, "Yeah. This is a strong enough, robust enough source. We can bend it, it's elastic. It's bouncy."

As a performer, I'm constantly fascinated with the idea of being able to know what anybody else's experience is, and how misleading all informatives, like appearance, can be.

I think of great masters, like [Alfred] Hitchcock, for example, who works absolutely within this sensational realm. You feel like you can always tell what temperature a room is in a Hitchcock film because the people feel alive, they don't feel like they're just being filmed on a stage.