I have some sort of affinity for compulsive behavior. The most interesting stories come up from the people on the outside. They don't waste energy marching to the same drummer most of us do. It gives us an opportunity to look at things in a different way, which is the purest thing cinema can do.

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.

When I was a kid I was very interested in the idea of the will, finding out what you're capable of. I liked those kind of challenges.

You have to lose yourself to find yourself.

I feel like it's important to be flexible, particularly when I'm coming in late in the game and I'm connective tissue in the story. I'm not at the very center. It's important for me to have a certain kind of flexibility and try to help people do what they need to do.

Performing is about developing empathy, which leads us to a broader view of the world and encourages us to develop compassion; so we can comfort each other and not be so brutal with each other.

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.