I think actors become jacks-of-all-trades and masters of none.

Comedy is so hard; it's so much harder than drama. The pacing of it, the energy of it.

I'm challenged by people like Russell Crowe and Sean Penn who come in with such incredible discipline and power.

I had a Southern accent but I had broken it so hard.

I think that often times Hollywood panders to the cliches of small town life, specifically Southern small town life, and I think that this movie does the opposite.

I want to be so strong as an actor that people wouldn't say... eh, that's Josh Lucas.

I'll look at the script and I'll try to find as many books, movies, and pieces of music that I think are going to feed each scene or the character as a whole.

Always do something different. Always different things.

I got so used to being unstable that I started to only be comfortable being unstable.

On A Beautiful Mind, there was a wall of math.

It's funny, but we were living on this small island off the coast of Charleston, South Carolina when I was 9.

There's such good people out there where there filmmaking world is alive.

I've worked with some incredibly difficult directors but my understanding is that a lot of the best people are driven from a place of being extremely challenging and dark within their way.

I think actors become jacks-of-all-trades and masters of none.

I visited those friends who'd just had a baby, and she was washing dishes and he was cleaning the house, and I burst with happiness. And in their minds, they were in this terrible domestic rut.

I'm right at a time when I'm strongly finding my identity inside of my work.

When I was on that boat, I realized the only way I would feel creatively challenged was if I totally changed everything about my environment and put myself in a storm, in a sense.

I love experiencing other people's realities, seeing the world through their eyes for a short period of time.

My instincts are not comedic.

This fear of death infused me with the desire to live, and to live harder.

The Hulk, that was the experience of my life, so far.

I had friends of mine tell me they had a baby, and I didn't even know they were pregnant.

Every day is intense and alive, whether it's travel, work, even down time, which there is so little of.

New York has got this sort of wonderful romantic idea of the South.

So when we finally settled down outside of Seattle I felt totally uncomfortable with that idea.

No, well, my father's definitely not Christopher Walken.

My nomadic childhood dramatically fed my eventual decision to be an actor, but not in the way you might think.

I love how people in this business push themselves to know themselves, the world, and their creativity better.

It was a long period of time where I tried to figure out what worked, what didn't work.

I think I've spent so much time playing characters that are so far away from me and learning how to technically build and how to technically put something on top of you.

It's the South that maintains the idea that they're different, which is interesting because nobody else really cares.

At a certain point, even if the one alpha male is dominant, at a certain point there's a younger lion that is stronger, and everyone knows it.

Wrap parties can be really sad, actually, disorienting.

Once everyone else around you starts to become incredibly comfortable - if anything, quite happy with what you are doing - then I start to settling in and trusting all those choices that I've made up to that point.

Actors love mental disorders, dialects, and corsets. Give them one of the three and they're happy.

What's fascinating is that when you write a script, it's almost a stream of consciousness. You have an idea that it means something, but you're not always sure what. Then when you get on the set, the actors teach you.

Young actors often don't think of the consequences of doing nudity or sex scenes. They want the role so badly that they agree to be exploited, and then end up embarrassing family, friends, and even strangers.

I've seen many actors go awry by making the wrong choices early on.

Actors are able to trick themselves into treating anything as if it's fantastic. It's a kind of madness really.

David Cronenberg knows what we actors do as artists.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

I'm not in the business of becoming famous. And that's the advice I give to younger aspiring actors. Work onstage and do the little roles. In the end it's not important to be seen. It's important to do. There's a lot of disappointment in this business, but my family keeps me grounded.

Actors get pigeonholed very quickly, particularly movie actors. In the theater, one is more used to casting people against type and trusting that their talent and skill will get them through.

Comedians are not usually actors, but imitations of actors.

I was very pleased you know, and I was afraid that I might stick out, but I didn't. My happiest thing about that picture is that I proved that American actors can speak as well and also fit in with an ensemble like that.

I've worked with a lot of really fine actors, both on stage and on screen. The level of their game lifts me up and brings the level of my game up to theirs. Always. It's like a constant upgrade.

I feel like I'm the most well-adjusted character on the show, even though I'm sure the other actors would tell you the same thing about their characters.

There's a constant flow of child actors. It's kind of funny to watch the new crew come through. I think, You poor little things. You're going to have to struggle for a long time.

I'll miss the relationships I have built with these actors. I'll miss the devotion we have to this work. Over this length of time, the tendency is to think it will never end.