We're only here for so long. Be happy, man. You could get hit by a truck tomorrow.
Timothee Chalamet
I do find that there's a fine balance between preparation and seeing what happens naturally.
I have experienced heartbreak but not in a classical sense.
I should become a peach brand ambassador.
My sister was in ballet growing up. I spent almost the entirety of 7 through 12 backstage at Lincoln Center, just running around, waiting for 'The Nutcracker' to end.
I have this sense of independent heartbreak, of annulling romances before they get their feet off the ground.
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.
Ninety-eight per cent of all human communication is non-verbal.
I naturally have a me-against-the-world mentality, and I've been fighting it since I was 13. It's felt like it's only gotten me in lonely, angry places.
I'm not someone who frequents the gym, pretty much ever.
Sometimes, when you act with someone in an intimate capacity, you have to ask vulnerable questions to speed up intimacy - but that's artificial.
My dad's French, and I spent my summers in France growing up. So I speak French fluently, and obviously, I speak English because I was raised in New York, and I grew up here.
Learning the Italian was tough. I tried to really come at from a purist perspective, really learn the grammar, syntax and conjugations.
I love the East Village.
I don't like to know exactly what I'm going to do in a scene, because the most interesting moments as an audience member are moments of truthful spontaneity.
Sometimes if I'm in my head before a take, I'll just like to reach out to the closest thing to me - the wall or a sharp edge - and just push into it. That way, my physical experience is totally contemporaneous and not in the clouds.
There is an audition floating around somewhere that I did for 'Bates Motel.'
I did a year at Columbia, and I just kind of floundered. Maybe it wasn't the right place for me.
I went to LaGuardia, so I'm very close to the reality that lot of actors work rarely.
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 feel like I've been around performance my whole life. My mom and uncle had done plays.
The villain in 'Call Me by Your Name' is the tragedy of love - what seems to be part of the deal you sign with someone when you experience an amazing time with them.
I've always felt like there was less creative space on sets with guardians. I just felt independent at a young age.
I wouldn't be the actor I am without New York.
I did 'Prodigal Son' at Manhattan Theatre Club.
My favorite kind of acting scenes, or at least where I think people shine the brightest, are odes to Meisner technique scenes where people are face-to-face, and it's almost like a repetition exercise.
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.
I've been getting to work with Steve Carell and just feel like the luckiest kid in the world.
I've seen Hugh Jackman in a thousand Broadway shows.
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 don't think enough people admit that there's just something fun about being in front of people. And that's not a self-centered, egotistical thing.
I played the piano growing up and then stopped for 10 or 12 years.
I miss the sense of belonging on a film as much as I did on 'Call Me By Your Name.'
I spent a lot of time in a small town in France, growing up.
These are such First World problems, but there's a certain claustrophobia to New York. You don't escape in the East Village, but it at least feels full of camaraderie and youth - or full of camaraderie and youth in an East Village that is as full of Chase banks and Starbucks as the Upper West Side, or anywhere else in Manhattan.
I'm sure no one really wants to think of themselves as a child actor.
On American sets, you work 12-, 14-, 16-hour days sometimes. All that volume over a short course of time can actually be less conducive to telling a story accurately.
First and foremost, 'Call Me by Your Name' is a story about love, and first loves, and unrequited, and then, later, requited love.
