Timothee Chalamet

First and foremost, 'Call Me by Your Name' is a story about love, and first loves, and unrequited, and then, later, requited love.

I love the East Village.

I have this sense of independent heartbreak, of annulling romances before they get their feet off the ground.

I have experienced heartbreak but not in a classical sense.

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.

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 feel like I've been around performance my whole life. My mom and uncle had done plays.

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'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.

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.

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 always felt like there was less creative space on sets with guardians. I just felt independent at a young age.