I don't worry so much about the audience. I want them very much to be involved and enjoy the movie, but I try to just inhabit the character in a full way, where I can create a personal stake.

I try to attach myself to people who really inspire me, and directors who are really passionate. That way, I can give myself more fully and trust the impulse behind why the film is being made, and I can be a little more irresponsible in finding out what the character is.

The real difficulty for smaller films, when they're made independently and it's time to go for a distributor, sometimes if it's a tough film and the people who financed it need their money back right away, it's much easier and lucrative to take a DVD deal.

I'm never in Hollywood! I'm a theatre actor that lives in New York. I'm very seldom in Los Angeles. I don't dislike LA, I just don't think it's a very healthy place for me to be all the time. When I'm shooting a movie there and am working I'm perfectly happy. But when I'm not working or engaged in something it's a place that I wouldn't live.

I aspire to be an instrument of the director. I'm happiest like that. The stronger the director, the more I'm willing to give them.

Sometimes I say I feel more like a dancer than an actor, because there are things implied about being an actor that I don't really like. I feel more comfortable with the word 'performer'. I like being the thing. I like being the doer. There's a factualness to it. And then certain resonances happen out of how you apply yourself physically.

I'm one of those people who when I go over a bridge, I want to jump. It's just this intense tickle in the back of my throat. It's like I'm on the verge the whole time I'm walking over that bridge, and I'm not going to get a release until I jump.