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You never stop thinking about technique, but really, the reason we're actors is because of the sheer joy of those few moments you get every now and again where you're totally present. The rest is just struggle and misery.

When you understand how to do that dance, when the photographer says, 'Hold it, do it,' and you know you're getting it right, oh, the fun. It is fun.

Technique is what you fall back on when you run out of inspiration.

You really can't explain how you do the things you do. I can't, anyway. I love certain actors, but sometimes they say the stupidest things about technique. I don't want to say something stupid.

Sometimes I just rely on technique on stage, but it's not about technique. It's about how much you want to deliver the message to the audience. That's all.

I'm not a huge fan of improv theater or improv sports or whatever, because it still just looks like a tool. It looks like a technique to me.

I don't get wrapped up in technique and the like.

Technique is really personality. That is the reason why the artist cannot teach it, why the pupil cannot learn it, and why the aesthetic critic can understand it.

Some artists are nervous - most of them are, to tell you the truth, and they have different ways of exhibiting that. Some of them are boisterous, some are really quiet.

It's easy to make something avant garde. To do something in the traditional way is much more brave in the sense that you're - your technique is so much more exposed because there's not all this flashy stuff to distract the viewer.