People think memorizing lines is hard, when that's the last thing you worry about. You get that done, and then you've got to worry about the internal stuff, which is the challenging part.
Films can be entertaining without shying away from exploring something. They can be magical and have fantasy, but also can have enough reality that you can be really emotionally invested.
In 'There Will Be Blood,' my character was someone who was an actor himself almost. He had a rehearsed quality about him. He was a performance artist in a way.
I think the idea is to try and understand everything about the characters and where the character is coming from, from their point of view, why they say what they do. And not, 'Oh, but I would never say that. Why does the character say that?' But then making it as personal as possible.
I really don't want to go to work every day convincing myself of what I'm saying. I want the material to make me a better actor; then I try to return the favor to the material.
I volunteered at a homeless shelter in preparation for 'Being Flynn,' and when I'm walking along the Bowery, that's the first thing that comes to mind. That's a nice memory.
You look at the part in '12 Years A Slave,' you finish that script - I mean, it's a powerful story. You go, 'Man, I have to play a bad character in this.' And then you go, 'Well, do I want to play a bad character and contribute to a good story?'
The whole being-in-a-room interview thing, at a junket or a film festival, is very inhuman. You meet the person, have five or 10 minutes to talk, and it's not like a conversation.
I've seen people, where if they have to wait around the set for three hours, and they call you at the wrong time, and they're not ready for you, some people don't like that.
I love filming in New York. I love New York movies, too. I just like it when people can take New York and make it their own, because there are so many different New Yorks.