When I was younger, I never wanted to rehearse because I thought that someone would figure out I don't know what I'm doing.

When I was younger, I never wanted to rehearse because I thought that someone would figure out I don't know what I'm doing.

For me, I wish I loved every script that I read. Sometimes I'm more picky and choosy than I really should be because you would get more jobs as an actor! But you don't know what it is. Sometimes you read something and it could be a big part or a small part. It could be one scene and I'll read it and say: "Wow, I really like that and I really want to do that.".

I like to find characters. Here's the bottom line: I can't play someone if I can't figure out what he cares about. Everybody cares about something, even a rough character. It defines where we step in life. As soon as you find out what somebody cares about, then it all gets real.

Whether it's one scene or 15 scenes in a film, whether it's the lead or a cameo part, if I don't find it interesting, I tend not to do it. You never really know what it is. It could be a one-scene part. I remember I read the one scene in Crash and was asked to do it. I was like, "Absolutely!" There's no formula for how something has to be. I always try to keep it that way.

Sometimes the scene is a sad scene but you have to play it with a laugh to find out that that doesn't work or that there's really a part of that in it, and that's what rehearsal is for, to take that time.

The Underneath was my first film. Steven Soderbergh. I remember that I thought, "Wow, this is such a highlight. Am I ever going to get back to this?" Loved working with Steven and in Austin, Texas, one of the rockin'-est towns in America. I'll always remember it, because I was really grateful that someone finally hired me for a movie.