I have learned that when you make big decisions, life says, 'Fuck you. This is what you actually have in store.
Action films unfortunately don't let you spend a lot of time sitting. So you don't have much time to create something indelible or unique.
I love the '40s. I love the '50s. I love the style, I love the clothes. I love how the women looked. I love the dances. I love the music. I love the amber of the light. I'm just in love with the cars. I'm in love with all of it.
For me, fragrances are very - one of these beautiful art forms that bring about a whole host of things. It's what you want to smell like, it's memories that make you smile or are resonant of times in your life, it can remind you of music. If you're a lover of scent, it's a very kind of particular and evocative thing.
It's really interesting that, in 'The Avengers,' the character that people relate to is The Hulk, and I think the reason why they relate to The Hulk is because he's fragile and human and faulty.
I think the first thing that I saw on IMAX was 'The Avengers.' The scope and the size of it are pretty neat, I will say that.
A lot of tragedy can befall us, but there's always something else; there's always hope.
I feel prematurely old. I'm actually having this major belated quarter-life crisis. I'm turning 30 in a couple of weeks. I've been thinking a lot about mortality. A lot about what I'm going to do with my life and how to enjoy it. One of the things I'm going to work on is being more spontaneous, letting go, embracing the beauty of come-what-may.
'Horrible Bosses' is just blatant, outright fun. I've read some of what the critics have said, and it's incredible how mean critics can be about comedies... It's so ridiculous.
I was a shy kid, a late bloomer. At 22, I was probably 16 emotionally.
Life flies by, and it's easy to get lost in the blur. In adolescence, it's 'How do I fit in?' In your 20s, it's 'What do I want to do?' In your 30s, 'Is this what I'm meant to do?' I think the trick is living the questions. Not worrying so much about what's ahead but rather sitting in the grey area - being OK with where you are.
The mass audience doesn't want to see you if you aren't perfect. If you don't look a certain way, if you don't have big pecs and great skin and the perfect eyes. And it's unfortunate, because kids are growing up with body image dysmorphia because not everyone is represented on the screen.
I'm always calculating what I want to do, who I want to be, what I want to accomplish. I don't need to worry about that - that's always there on a slow simmer. The muscle I have to work on is being more present.
Film is just a different version of what we did round the campfire when we were Neanderthals. We tell stories so people can learn things and relativise things.
I'm more cerebral than I want to be.
I like kind of natural, woodsy earth tones. I like patchouli. I like tobacco. I like sandalwood. I like tree resin. I'm not a huge fan of citrus - I like things that are kind of moodier and... more deeper base notes.
For me growing up, Christmas time was always the most fantastic, exciting time of year, and you'd stay up until three in the morning. You'd hear the parents wrapping in the other room but you knew that also, maybe, they were in collusion with Santa Claus.
Growing up in a family of actors, what's great about it is that they're very supportive and they understand what it's like to be an actor - the rejections, the highs and lows... and having a common language with them is great because you have shorthand speech.
I've worked Keira Knightley quite a bit and Kevin Costner.
My grandmother was an actress too. In the thirties and forties she was under contract with Universal Studios. Crazy credits, lots of them. My dad was also under contract with Universal Studios. And my first film was shot on the same stage they both worked on at Universal.
