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(on working with Greta Gerwig) I would work with Greta on anything. I'm just totally in awe of her. I like working with filmmakers who are ten times smarter than me. Also I get to be the square to the circle of Saoirse Ronan's affections again.


I think the most precious thing I get from my parents - and I try and give it back to them as much as I can - is their love and support. I hope that doesn't sound cheesy, but it's true. In your late teens, early 20s, you suddenly realize that your parents are human. That doesn't mean I don't get really great advice from them, because I do. But you reach a certain age and you take control of your own life.


(on method acting) I try to be super careful. The danger is you can end up focusing more on what's going on off-camera than on-camera. You don't want to be entertaining for the sake of being entertaining. The work should be the work. If it resonates, it's going to resonate, and then people are naturally curious about how you got to that destination. It can't be about how you're getting to it.


I hear about celebrities who have stylists, and that blows my mind. It's certainly not why I act, but I can wear cool clothes from some of the nicest designers in the world. So why am I going to pay someone to figure out what I should be wearing? That's the fun part.


I'm a big hypocrite in that I believe that the most important part of any audition is the second you leave the room. If you can leave and not beat yourself up, it's going to help you next time. I never actually auditioned for Call Me by Your Name (2017), which kind of blows my mind. I did a reading in New York.


New York. New York. Hands down. When I land I kiss the tarmac, baby.


(on Beautiful Boy (2018)) Playing a young person who's lost and self-loathing - that's universally relatable. I think it's the job of any actor to be as raw as possible and make yourself an open wound.


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