If you know what it is before you even start, it's not as interesting. Central to being an actor is pretending, and the adventure of it all. That's why you become a junkie for different kinds of situations. 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. I have to worry less about what the character means if I trust the director.

I want to work with people who are good at what they do, and people who are passionate.

Mounting those red stairs [in Cannes] is something I've done with a very different intention many times. So it's interesting any time you witness those shifts of perspective. The beach scenes were also fun. It felt very strange and very theatrical to kind of commandeer it and have La Mer booming over the speakers.

You can be intuitive when you've got a more expansive role. You can get into the poetry of telling the story rather than just pushing buttons.

Sometimes you make very interesting movies that aren't meant for everybody. But this is a capitalist society, so everything conspires to put value on whether it sells or not.

Central to being an actor is pretending, and the adventure of it all. That's why you become a junkie for different kinds of situations.

I never act. I simply bring out the real animal that's in me.