Quotes

I believe that the only way to go about things in life is to just do what you love. If you do that you can't go wrong.

There are so many people that I'd love to work with. As far as directing actors go Aaron Paul would be a treat, I really dig what Lizzy Caplan is doing right now, T.J Miller and Donald Glover seems like a lot of fun. As far as acting for directors David Fincher is on the top of my list. Working with him, Woody Allen, Martin Scorcese, Quentin Tarantino, and the Coen Brothers would be a dream come true for me.

At the end of the day it's all about the drama on screen. No one seems to care about good cinematography and can forgive minor mistakes as long as the drama is good.

I try to have fun on set, cut jokes and what not as at the end of the day we are making a movie, not curing cancer. But at the same time there is a lot on the line for ourselves and our families. That's why there can be great intensity sometimes.

I think some of the best directing you can do is getting out of the actor's way. A tweak or two here does the trick. But when I see that something is working I try to let them do their thing. A lot of directors don't seem to trust their actors and I have never gotten that. You hired them for a reason.

Acting and being a filmmaker can be very lonely. I come from a racing and sports background so there was a ton of camaraderie going on. Even in racing where everyone is your competitor. But when I started acting it was different. Everyone is way more out for themselves, there are quite a few flaky people, people will stab you in the back in a second if it serves them well, and everyone kinda does there own thing. It can be tough sometimes. But it's a good exercise in learning how to be alone.

I get the best out of my actors. They know that at the end of the day it's all about them.

Acting only gets you women if they have seen your movies. If I mention that I was in an episode of Veep I usually get those doe eyes to come out.

You kinda treat your agent like your girlfriend. You are excited to get together at first. There's that honeymoon period. But they you start wondering what else is out there.

Climbing my way to the top, one brick at a time.

Telling a story visually is an interesting concept. I want to be to make the camera feel like it's invisible. Camera movement like Steadicam, tracking shots, and dolly shots are cards that you can play. But you should only use those cards if you feel that it helps the story move along or makes a shot more interesting.

L.A is interesting. There's a whole industry that's clients are aspiring or struggling actors. Headshots, classes, reels, demos, you name it. When you think about, being an actor is a real privilege because most people cannot afford these things.

I've always believed that light shines brightest in the darkest corners. To truly understand a character, you have to dig into the shows-where fear, desire, and truth collide.

I'm drawn to the cracks in people, where their humanity shows through. That's where the real story begins-at the edge of comfort, in the space between what show the world and what we hide.

I realized that I did not want to make 100% of my living from acting. I was unhappy with the whole industry and found more fulfillment in writing novels and making music.

The mind is a battlefield, and I'm fascinated by characters who are losing-or winning-that war. The stories that stick with me are the ones that live inside the head, where every decision feels like a quiet revolution.

I'm not interested in playing perfect people. I want the roles that make you uncomfortable, that force you to confront your own flaws and contradictions. That's where the real growth happens-for both the actor and the audience.

The most powerful performances aren't loud. They're the quiet moments when a character breaks down inside but never lets it show on the surface. Those are the moments that haunt you.