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The beautiful thing about acting is that you can just dive into the character, strip yourself of everything, and just get in there and perfect your craft.
And that doesn't cost any money, to have decent relationships and viable situations. What costs money is car chases and shoot-outs, so I always thought that the thing to work on was the characters.
No one thinks they're irritating. Nobody thinks they're boring. So if you're playing a character like that you have to play them as how they think of themselves.
Well, it was very interesting to play a character and stretch it over such a long time - 12 episodes. I had never done a TV show before, so week to week it was unclear what we would be asked to do.
I think anything that opens my mind and triggers my imagination I'm reading. I like to read science fiction and imagine the character. Anything that keeps my imagination flowing.
I try to keep my characters raising more questions than giving answers. I don't want to leave too much on the table. I want you to have your connection and your secret understanding of the character.
I find it inspiring and I always think when I'm working on something new, whether it's a new kind of character or a new kind of story or new kind of camera, it gets my creative wheels spinning.
When I work, I really try to get absorbed in the character. Unless I want to do something playful with the camera, I'm not too worried about where the camera is or positions.
I think that television has become really, really interesting, in terms of character development. You can have 13 hours to develop a character, as opposed to 25 minutes in a movie. That excites me.
I suppose the underlying current for me is the idea of not doing something I've done before. I call myself a character actor and I'm always trying to stay a character actor.
It was very important to me to choose a director like Gary [Ross], whose instincts come from character, who's a storyteller, and who puts characters first.
Weirdly enough, I don't like to pretend. I try to use things in me, and translate them into the situation and the characters, so it always needs to run through my own veins.