In this business, you're dependent on the writer, the filmmaker, the luck of beating out who knows how many people for the part. I'm over getting torn up about that.
I'm only an actor. I'm not a writer. I'm not going to leave any legacy. All I've ever done is learn the lines and say them.
I'm really a director's actor. I rely heavily on a director.
There's this weird thing about acting where you have to wait for somebody to ask you to do it; like you have to wait for a director to say it's okay.
An artist should appreciate anybody that appreciates their art because really bro, without people I can't do anything.
As independent filmmakers, we are actually deeply dependent on each other. The Spirit Awards are a public expression of those bonds, the intricate set of relationships and histories that we filmmakers depend on to make our most personal work.
In entertainment, the technology began giving us greater choice and easier switching before almost any other area. The studios became much more dependent on the stars, not just star actors and directors but also star technicians, star cinematographers. It's a very important evolution in terms of understanding why people are working the way they're working.
An artist can go paint, and a writer can go write, but an actor needs to get hired, needs somebody to say, 'Here, come and do this,' That's the hard part.
I always found something strangely paternal about the director-actor relationship. Actors want so much approval.
Some people have human muses - mine is a city. I feel a startling ambivalence towards London, but for better or worse my work has come utterly to depend upon it.
