I have experienced heartbreak but not in a classical sense.
I have this sense of independent heartbreak, of annulling romances before they get their feet off the ground.
There's the truth to every moment that you have to bring to every scene, but you have to understand the tonality of the film before you begin, which isn't something that's instinctual to me.
Somebody said to me, 'You should keep a journal of this period in your life and really write down this stuff.' But that makes me a little uneasy.
I want to attack and to lead my life with vigor, but I'm in the watching stage at the moment. Younger actors feel pressure to bring a pop to every scene; as the roles get bigger, I'm finding you can add layers and do less scene-to-scene.
I've been getting to work with Steve Carell and just feel like the luckiest kid in the world.
I did 'Prodigal Son' at Manhattan Theatre Club.
I've been very encouraged by the nature of the conversations that I've had and by the lack of questions that are tunnel-visioned in their understanding of sexuality and life and love.
I spent a lot of time in a small town in France, growing up.
When I try to appreciate something, it feels like my hands are around the moment, trying to squeeze it. It's when you really release yourself of the responsibility to be enjoying things that you actually do.
First and foremost, 'Call Me by Your Name' is a story about love, and first loves, and unrequited, and then, later, requited love.