Joel Edgerton Quotes
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I blame my work for a lot of things. I thank my work for a lot of things, too, but the trouble with being so passionately involved in work is that it becomes like a lover, like your partner, because it nourishes you.
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Everybody's a mix of good and bad choices that they make.
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Part of the privilege of being an actor is the people you get to work with.
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It's an incredibly liberating feeling to have a skirt on. In fact, I know you can buy skirts, and you can buy work kilts and all sorts of stuff.
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I really like kids.
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The sum total of all my stop-starts have made me less concerned about the future. I'm just aware now that I'll always land on my feet somehow.
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If, at the end of the day, I can look back and see pictures of all the characters I've played, and there's a smorgasbord of weirdos and interesting, odd, different characters, I'd be so happy.
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Actors want to act; actors want to emote. It's like the emotional equivalent of tearing your shirt off and screaming to the heavens: you want to express, and you want to be seen to be expressing.
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I don't want to be too power-hungry.
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I'm a pacifist.
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Having rain on your tuxedo is a pretty good reminder that you're not James Bond.
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I never sing out loud because I'm afraid people will go, 'Shut up!'
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I was raised Catholic, and I remember in all the pamphlets and pictures we'd look at, Jesus was basically blonde with blue eyes. He kind of looked like Jared Leto.
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Sometimes Hollywood manages to knock a movie in its teeth so hard that it never manages to get back up.
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Every job leaves its residue, a bit of extra knowledge, a new skill-set.
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I think the great thing about characters is the ways that they can be surprising. I mean, sometimes you think you've got a lock on a personality, even just in life, and then they'll shock you by their behavior.
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The Australians are actually the worst of the criminals from the United Kingdom, but not worst as in toughest. They're the ones who did stupid little things and got caught for it. Bad criminals.
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One wrong move, and you destroy your career.
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There's a stage where you're desperate to get a job, and you're waving your hands in a sea of nothingness, going, 'Please, please, please! I'm over here - give me a job!'
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I always kind of aim with the action stuff to make it feel like, as an audience member, you're experiencing what the people are experiencing. As soon as you go into slow-mo or repeated edits, shooting it like it's a stunt, it takes it out of that reality. The more real you make that stuff, the more tense it will be.
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I never really think too much about my voice.
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Particularly when you're making a movie of a book, people are always waiting with their knives - you know?
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All I can say is working with Ridley Scott is a dream come true.
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There's never been a mathematical equation that says a good experience making a movie equates to a good movie, or a bad experience on a set is going to lead to a bad movie.