It's weird: I don't see myself as a tough guy.
One of the things I've always enjoyed is moving around and staying fit. Physicality is such a big part of being an actor, but it's also about stillness and silence.
Every job leaves its residue, a bit of extra knowledge, a new skill-set.
To me, I think I'm just going to keep focused and forward on what I'm doing, work-wise, rather than searching for any kind of meaning in it.
There's a stage where you're desperate to get a job, and you're waving your hands in a sea of nothingness, going, 'Please, please, please! I'm over here - give me a job!'
There's a real sense of fighting and destruction in our DNA that we don't get in touch with.
I learned so much by being an actor, and part of my sort-of development as a writer is big thanks to the scripts I read in my acting life.
I wanted to make a redemptive thriller that didn't end with some kind of big, crazy shootout and blood spill, but more of a collision of ideas and a discussion of ethics.
It feels good to be fit and strong.
I never really think too much about my voice.
Whenever you're trying to do your own take on a classic piece of literature, it's almost like you're trying to swim up your own stream or drive down your own path.
I did my holy communion, and it was amazing how quickly the stories of the Bible and God and Jesus got under my skin.
The best jujitsu practitioners are really serene and grounded.
I was raised Catholic, and I remember in all the pamphlets and pictures we'd look at, Jesus was basically blonde with blue eyes. He kind of looked like Jared Leto.
We are people in circumstances who make choices that we think are right at the time.
Unfortunately, the Egyptians weren't the greatest artists in the world.
The little bit of buzz around 'Warrior' led to a lot of opportunities anyway, before the movie even came out.
I operate under the theory that all publicity is good publicity, and then, if that theory doesn't work, you just say that any newspaper article ends up on the bottom of the parrot cage. But, of course, you can't line a parrot cage with Internet bloggers, can you?
The biggest difference for me is momentum. On a smaller film you get to shoot sometimes four or five scenes a day and you've got to do the tight schedule. I think I really feel the luxuries of a big budget film.
Sometimes I just wonder if I'm being led by variety. If one film leads me down one path, sometimes I just want to turn around and head the opposite way for the next project. I hope that's not the case, but sometimes I suspect that.
I blame my work for a lot of things. I thank my work for a lot of things, too, but the trouble with being so passionately involved in work is that it becomes like a lover, like your partner, because it nourishes you.
The downside to making movies at a gallop like we did with 'Wish You Were Here' is that we're shooting four or five scenes in a day, and it's very exhilarating, but you worry at the end of the day that you missed some details because you were moving too quick, and you just gotta trust and be ready straightaway.
Gene Hackman was a superstar in the '70s - with that face!
Particularly when you're making a movie of a book, people are always waiting with their knives - you know?
Sometimes I think being an actor is like being a dog for a director; it's like they throw a stick, and you want to fetch it and bring it back to them. You want a pat on the head for it.
Gavin O'Connor, I'd walk into a fire for that guy. He's a brilliant filmmaker and a passionate man.
My brother and I are best friends.
'Animal Kingdom' feels like a suburban Melbourne version of 'The Godfather 'to me. It's epic and Shakespearean in its story, and yet you still feel like you can reach out and touch it.
A lot of the fighters will say you'll know if a fighter's won or lost just by a fighter's eyes - whether they're scared of the other person.
I learned a great lesson early on, even before I was really an actor, from that movie 'Planes, Trains & Automobiles' that John Hughes made: that you could make a movie that's really, really, really, really funny, and sometimes you can still achieve... making the audience feel very deep emotions as well.
I just don't want to do crap movies, man, because I just love that I can get up and talk about them and talk to journalists about stuff that I'm really proud of.
This is the world we live in, isn't it? Tons of spin-offs; people reboot things very quickly. I was amazed how quickly they made a Wolverine movie, then, 'Let's do another origins Wolverine movie.'
Sometimes Hollywood manages to knock a movie in its teeth so hard that it never manages to get back up.
I don't want at the end of my life to look back at just a bunch of fictional movies I was involved in that kept taking me away from the real world.
Even to this day, when I think about the fact that I'm in this 'Star Wars' world, that I'm a half-brother to Darth Vader and an uncle to Luke Skywalker, it's too hard to wrap my head around.
I love the idea of real-life experiences finding their way into fiction. I think that's really cool.