Zitat des Tages von Joel Edgerton:
I can't sing or dance.
Everybody's a mix of good and bad choices that they make.
I'm a great believer in not sitting around waiting for the right part to come around, but jumping in and building it for yourself.
In Australia, there aren't a lot of people committed to art, so these communities form that are dedicated to music, theater, cinema, but they're very small. So, they tend to move ahead on the power of collaboration, enthusiasm and creativity.
I do know one thing: it's best not to read the Internet.
I'm a pacifist.
Everything is a learning process: any time you fall over, it's just teaching you to stand up the next time.
I'm single, footloose and fancy free, I have no responsibilities, no anchors. Work, friendship and self-improvement, that's me.
I love so much what I do that I spend so much time thinking about it, and then I go home, and then I'm thinking about it, so it's nice sometimes when a movie is over, and then the niggling feelings about whether you've did it right or not start to ebb away.
I'm hardly digging trenches for a living. I'm getting to tap into my boyhood fantasies of being a larger-than-life character.
To act with a tennis ball and imagine it's a tentacle, or if you're in some kind of wilderness film and you go, 'Okay, we can't have a grizzly bear here, but imagine when you step over the rock there there's a grizzly bear.' I don't know. They're tough moments.
The sum total of all my stop-starts have made me less concerned about the future. I'm just aware now that I'll always land on my feet somehow.
Sometimes, the smaller roles in movies can be the most interesting. If you only take the stance that you'll only play central characters in movies, you'll find yourself not being able to indulge in that morally grey terrain that makes support characters so rich and interesting.
I'm a bit of a workaholic.
I'm not going to allow myself to second-guess projects. I'm just going to do the ones that I fully love and believe in - that's a real privilege.
Really, no-one is bad except for serial killers and dictators.
Blue Tongue Films is a very important part of my life.
I've never seen a film get away completely unscathed like I have 'Animal Kingdom.' There's not a single bad review that I've read of it yet; all through Sundance, all it got was high praise.
That's one of the great privileges, being an actor, is that someone pays you and sends you off to learn about something that otherwise you'd never know about.
It's tricky. I've never been standing at the top of the tree with tons of money thrown at me. I've never really had a profile. So in a way I have this 'nothing to lose' attitude.
There's the pressure of being a No. 1 on the call sheet, being a lead actor. There's almost this feeling like being captain of the team. You want to put a bit of energy into actually setting a good example.
I have always stuck to my guns about what I want from the work and what interests me. I've never been seduced down the evil path. The path of taking the money.
Actors want to act; actors want to emote. It's like the emotional equivalent of tearing your shirt off and screaming to the heavens: you want to express, and you want to be seen to be expressing.
There's definitely a fascination with crime stories and stories of characters acting out against authority.
Polo is like playing golf with a saddle, and there are a lot of moving parts.
I don't call acting a real job, and writing is a hobby.
I couldn't do 'Eleanor Rigby' because it was clashing with another project - something I was going to go do - something with Liv Ullmann.
I was a good boy; I was never in trouble for anything.
I think it's great to be able to go and watch a short film before you watch a feature.
I worked for a big department store, and strangely, on my first day, they put me in charge of Christmas wrapping. I didn't know how to wrap a present and make it not look like it fell off a truck.
Whereas 'Avatar' and other movies get shocks out of their three-dimensionality, 'Gatsby' is going to be about inviting the audience into this larger-than-life drama, letting them almost be inside the room rather than looking at it through the window. I think it will really work.
Sometimes, what's not said is just as important to the writing as what is said. As a writer, we have our voices heard. I think that, at oftentimes, the ability to allow the dialogue to recede properly into the world of the film is also a really valid sort of way to be a writer, I think.
I remember my brother Nash had just directed me in 'The Square,' and I was sitting in Australia going: 'No one's called me about working for ages. I don't know if I'm ever going to get another job.'
I reckon I would be able compare anything to anything else if you gave me enough time.
All I can say is working with Ridley Scott is a dream come true.
Some people are really good at playing the movie star - they are really good at cultivating that mystique - but I'm not really into that.