James Badge Dale quotes:

You spend all this time, as a child, coming up with these fantasy stories, and here I am, sleeping in a treehouse, in the middle of Canyon de Chelly, shooting a Western. That's a bit of a once-in-a-lifetime experience.

I've been trying to figure out what moment The Lone Ranger came into our lives. We've always just known about The Lone Ranger. It's common knowledge. I don't ever remember watching the television show.

Marvel is very secretive, so there was no script. About six months before production, they gave me some pages and it was from a cop movie. And then, six months later, I got a phone call saying, "Do you want to come do this?" [iron Man]

I'm a little bit superstitious, and I think that just comes from playing hockey. I won't avoid the number thirteen. A big one for me, though, is walking under a ladder. I've always felt like that's tempting fate. That's just throwing it right in their face. Check me out. I just walked under a ladder. What are you going to do about it?

As an audience member, I live vicariously through the characters I watch or read about. There's something very relatable about comic-book characters. They're never perfect. They're flawed people put in extraordinary circumstances.

I've always thought that I'm kind of a cross between a young Bill Clinton and Lyle Lovett. And I just want to say I'm proud of that. Those are two good looking guys.

I grew up in a crazy, gypsy-like household of actors, dancers and loony Broadway people. It was their way of life, and I didn't know anything else.

I want to show up to work and take risks. I don't ever want to play it safe.

Kids will tease you for just about anything.

The biggest regret I have about 'Rubicon' is that we didn't end it. Sometimes you do these shows and you don't have the opportunity to get closure. Stories are supposed to have a beginning, middle and an end.

I got beat up by the comic-book kids when I was younger! They were cooler than me. Talk about levels of geekdom, I was a couple rungs below the kids who read comic books. Yeah. Not so cool, man.

I was really lucky that, through my 20s, I got to work with some amazing people, and I tried to sit back and watch and learn.

I can't go to the hardware store, cut a sheet in half and staple it to the window anymore. It doesn't fly.

The older I get, the more vegetables I eat. I can't stress that more. Eating healthy really affects my work. You not only need to be physically prepared, but mentally and spiritually.

My experience as a young actor on network television was that I couldn't make it work. I was drowning as an actor.

I always like playing the bad guys. They have more fun!

I like pressure. Pressure is good.

These stunt guys are good at what they do and they're professional. A smart actor will step back and say, "I'm going to let the professionals do this." Hats off to those guys, man. When you see the credits scroll, look at all those stunt guys and remember all those names 'cause they earned their money on this.

The physicality was important to me. Because the film has Shane Black's dialogue, and [Robert] Downey's delivery, and you look at [Jon] Favreau, Don Cheadle and Gwyneth [Paltrow], it is this heightened level with a comedic aspect to it. Everything is grounded in reality, but it plays a little heightened.

In a weird way, I live vicariously through the characters I play as an actor.

I'm a pretty private person, so I'd like to say I'm a good ear and that I keep my mouth shut.

I went through about 40 different hats until we found one that fit. It had to fit me and fit the character, more importantly, and whatever that thing was that we were trying to create with him.

You want to work with good people. When you're working with good people, it frees you up. There's nothing worse, as an actor, to show up and then feel like you have to protect yourself somehow because you don't feel like you're in good hands.

I grew up in a family of actors. I grew up onstage. The choice for me wasn't, 'Do I want to be an actor or not?' I always felt like that's just ingrained in you, the need to perform. The choice was, 'Do you want to do this professionally or not?

We're just one cog in this giant machine. You show up and look at all the other cogs like, "Wow, everyone is the best at what they do." You're in really good hands. And that frees you up to play and feel safe, and you can take chances, creatively. You can take risks. I want to show up to work and take risks. I don't ever want to play it safe.

It was dangerous stuff. We were running on top of moving trains. We got to do amazing things. I like doing stuff like that. I enjoy it. But believe me, there were things that were so dangerous that I wasn't touching them.

I think pressure when you work is good. It forces you to take risks and to do other things.

Not every conspiracy is a theory,

I always like playing the bad guys. They have more fun! I want a director to come up to me and say, "You can't get too weird!" That's a good thing. I loved hearing that. Let me play. I like to play around.

en you show up to work and put on your undergarments, throw on your suspenders and your cowboy boots, throw some dirt on you, and then get on your spurs, you start to walk a bit different. When you put on your gun belts, you change again. You go through this whole transformation process. All that stuff changes you. Riding a horse changes the way you walk and your demeanor.

When you're outside in those elements, there's something out there that takes it out of you, so you work real hard. It was physically demanding, but in a very good way. It's not a bad thing. It's a good thing, when things are physically demanding 'cause everyone is rising to the occasion.

It was dirty and hot, and you're on a horse, all day. It was physical work, but there wasn't one of us - cast or crew - who didn't have a smile on our face. Even when it got real hard and tempers would rise because things would get difficult and the day would get late, we all loved the job and loved doing it. When you finished that day of work, everyone was looking around and going, "Yeah, that was a good day, man."

I don't know why I just remembered this, and I haven't told anybody this, but we were shooting in Canyon de Chelly and we were so far up the canyon. Once we were up there, we were up there. There was no going back to your trailers.

Speaking of childhood fantasy, we were doing a Western, but we were also just hanging out. You work, and you ride and ride and ride, and then, for the next two hours, you look for a place to kick out, in this amazing canyon with so much heritage and so much history.

I found a treehouse. I found this weird tree, out in a field, and someone had put a piece of a fence, way up in a tree. I just went up there and went to sleep for a few hours, in full cowboy regalia. And someone did take a photo. I have a photo of it, somewhere. It brought me back to when I was 12 years old, sitting in a treehouse and imagining that I was in a Western somewhere.

The hats are tough. I've got a weird head, so believe me, there were a lot of hats. Penny [Rose], our costume designer, who I knew from other jobs said, "Badge, that looks terrible on you. Hold on. No, we can't do that one."

I've done a number of films that no one has ever seen, and that's probably a good thing.

As we were negotiating, I didn't have a script. Once the deal is closed, they let you read the script. So, I got the script and was reading it like, "Oh, please be good!," because I'd already signed on the dotted line. And I read it and just went, "Okay, I'm going to be okay. Thank god!" It was a really funny, moving story.

I've never been someone to count lines, look at it that way.