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It’s always wonderful to get to know women, with the mystery and the joy and the depth. If you can make a woman laugh, you’re seeing the most beautiful thing on God’s Earth.
The truth is often terrifying, which I think is one of the motifs of Larry and Andrew’s cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo’s choice to know the truth. It’s a beautiful, beautiful story.
Grief changes shape, but it never ends.
I mean, I went to a Catholic boys’ school for a year, but that was to play hockey. Religion class was quite contentious for me.
I had the classic 40 meltdown. I did. It’s embarrassing. It was pretty funny. But then I recovered. To me, it was like a second adolescence. Hormonally, my body was changing, my mind was changing, and so my relationship to myself and the world around me came to this assault of finiteness.
Falling in love and having a relationship are two different things.
When we talk about how movies used to be made, it was over 100 years of film, literal, physical film, with emulsion, that we would expose to light and we would get pictures.
How do people relate to movies now, when they’re on portable devices or streaming them? It’s not as much about going to the movies. That experience has changed.
You want to play another kind of character in another genre, and it’s been something I’ve been trying to do if I can in the career so far, and it’s something I hope to continue because it’s interesting to me and you get to do different things as an actor.
I’ve been pleased to work with so many wonderful stars through the years. This has been an amazing journey. I hope it continues.