TIMOTHEE CHALAMET

I played the piano growing up and then stopped for 10 or 12 years.

I naturally have a me-against-the-world mentality, and I've been fighting it since I was 13. It's felt like it's only gotten me in lonely, angry places.

I wouldn't be the actor I am without New York.

I spent a lot of time in a small town in France, growing up.

I love the East Village.

I've seen Hugh Jackman in a thousand Broadway shows.

On American sets, you work 12-, 14-, 16-hour days sometimes. All that volume over a short course of time can actually be less conducive to telling a story accurately.

Somebody said to me, 'You should keep a journal of this period in your life and really write down this stuff.' But that makes me a little uneasy.

I don't think enough people admit that there's just something fun about being in front of people. And that's not a self-centered, egotistical thing.

I have experienced heartbreak but not in a classical sense.

I should become a peach brand ambassador.

I'm sure no one really wants to think of themselves as a child actor.

I do find that there's a fine balance between preparation and seeing what happens naturally.

There is an audition floating around somewhere that I did for 'Bates Motel.'

Ninety-eight per cent of all human communication is non-verbal.

My favorite kind of acting scenes, or at least where I think people shine the brightest, are odes to Meisner technique scenes where people are face-to-face, and it's almost like a repetition exercise.

Sometimes if I'm in my head before a take, I'll just like to reach out to the closest thing to me - the wall or a sharp edge - and just push into it. That way, my physical experience is totally contemporaneous and not in the clouds.

My sister was in ballet growing up. I spent almost the entirety of 7 through 12 backstage at Lincoln Center, just running around, waiting for 'The Nutcracker' to end.

I feel like I've been around performance my whole life. My mom and uncle had done plays.

I don't like to know exactly what I'm going to do in a scene, because the most interesting moments as an audience member are moments of truthful spontaneity.

I have this sense of independent heartbreak, of annulling romances before they get their feet off the ground.

Sometimes, when you act with someone in an intimate capacity, you have to ask vulnerable questions to speed up intimacy - but that's artificial.

First and foremost, 'Call Me by Your Name' is a story about love, and first loves, and unrequited, and then, later, requited love.

I want to attack and to lead my life with vigor, but I'm in the watching stage at the moment. Younger actors feel pressure to bring a pop to every scene; as the roles get bigger, I'm finding you can add layers and do less scene-to-scene.

The villain in 'Call Me by Your Name' is the tragedy of love - what seems to be part of the deal you sign with someone when you experience an amazing time with them.