As an actor, a Dogme film is not that big a difference. You don't have to wait for the lighting, so you get a better rhythm. It's the camera guy and the editor and the sound guy who are in trouble. Because they can't do what they're used to doing.
In a big movie, like Ridley Scott's 'Kingdom of Heaven,' where I had a small part, you realize your task is to support everything that has to come together. You're just a piece of the puzzle. You're the guy in the hat.
I rarely do any back story. I often get a thick bible of back story, but I can't use it. The back story is a tool of the writer. But I can only act what's in the scene.
I don't pray, but if I did, I'd pray to God that Trump doesn't win.
Whenever I do anything, even the most simple character, I need to twist it somehow, make it more challenging, in terms of psychology and storytelling. I can't just do it straight.
In the '80s, we at least had the idea of diplomacy.
I enjoy smaller projects, especially by newcomers, where there is more energy than on bigger productions. And there's the pleasure of seeing the final result.
My task is to find the authenticity in the character. I tend to go with the script and tell that story.
