I've studied Stanislavsky, and Mamet taught Stanislavsky, and I studied with Sanford Meisner. But the part of the method that I think is the most fruitful is the method of physical actions. It all comes down to your objective: Nothing else counts except what you want. How you feel will take care of itself.

Here are the good things about independent films: They do the more interesting, chancy scripts. They're run by love.

Sometimes, directors are afraid to stop shooting, because the second you stop and say, "We got it," and move on, you'll never get another chance. And they're terrified to get in the cutting room and not be happy. So they just keep shooting.

Ninety percent of the preparation we do as actors is just jive. It doesn't do anything.

All modesty aside, I think I'm good at reading scripts. The way I read a script is as fast as I can, all in one sitting, and I don't read many of the stage directions. I only read enough stage directions to let me know where I am, because they're always so verbose and mostly horseshit. So I only read the dialogue, which allows me to see the movie in my mind's eye in real time.

It was my first impulse, but I chose to play the priest as a true believer who was an absolute man of faith that absolutely supports the church.

When I watch a film I get swept away. I don't really watch the camera.