I approach all my films as my first. If you carry that innocence, it reflects in the camera. I know I have become a star but I don't want to believe it. I want to be that simple, no fuss guy who approaches a film as if it is my first movie.

The start of a film is like a gateway, a formal entrance-point. The first three minutes of a film make great demands on an audience's patience and credulity. A great deal has to be learnt very rapidly about place and attitude, character and intent and ambition.

I am full of doubts ... Each new film is like a trial. Before I step in front of the camera, I do not know whether I am going to fall or whether I am going to fly — and that is exactly the way I want it to stay.

But there are constants. The first is anxiety, because you have to reinvent an entire personal universe from that of another, understanding the film, its form, its rhythm, its colors.

I find it quite difficult to watch the film once it is done, because in your head or imagination it is totally different. In the beginning it is quite hard, and I don't mean hard as in a negative or a positive. It is difficult to see the film being edited and see the real images for the first time coming out of your head and onto the screen. Sometimes you are surprised that he left something in and he took something out. The director is the creator; he's the captain of the ship when it comes to the creative journey of the film, along of course with the producer. So when you start out acting you have to find a way to understand and to deal with that. But as I say I don't mean it as a negative or a positive.

…When we see a film, half of what we see is what we bring to it…

All my films are somewhat experimental, they are all, each one, taking a certain amount of risk, but there's always the basic assumption that we should be able to appreciate the cinema as much with the mind as we can through emotional empathy. Sometimes it works, sometimes it doesn't.

To agree to keep a secret is to assume a burden

All I know is that when you make a movie it's something you have to live with forever. It's not a job I take lightly.

Cinema is a very difficult and serious art, it requires sacrificing of yourself. You should belong to it, it shouldn't belong to you. Cinema uses your life, not vice versa.

It’s different when you’re part of an ensemble cast because then the weight rests on you. You’re one of the people they’re aiming the camera at and are worried about making look good. So it was overwhelming and pretty mind-blowing at first, but at the same time exciting. As an actor, you’re just aching for a regular gig to develop your craft as well as put some money in the bank, which can be a rare thing for most of us in this profession.

The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development — whether psychological or material — one must pass on to the actual realization. In the cinema, as in the other arts, this is the most delicate moment — the moment when the poet or writer makes his first mark on the page, the painter on his canvas, when the director arranges his characters in their setting, makes them speak and move, establishes, through the compositions of his various images, a reciprocal relationship between persons and things, between rhythm of the dialogue and that of the whole sequence, makes the movement of the camera fit in with the psychological situation. But the most crucial moment of all comes when the director gathers from all the people and from everything around him every possible suggestion, in order that his work may acquire a more spontaneous cast, may become more personal and, we might even say — in the broadest sense — more autobiographical.

I find that in every new film – whether in terms of becoming a new character or more generally the shooting or production – I’m rarely working with the same people or in the similar situations. Sometimes the director is someone I haven’t worked with before, or the actors are different and the stories we are telling are different, so overall every role is kind of challenging but attractive at the same time. There were some roles that I found either mentally or physically challenging but I would find it hard to pinpoint one specific role that I found more challenging than any other. I guess that understanding each character is the most challenging for me.

My experience with first-time directors is that they’re all extremely prepared, because I guess they’re worried. They spend weeks preparing everything, and they have to get used to the fact that once you get there, everything goes wrong and you have to make everything up.