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[It's a] really smart, faithful adaptation of the book. The book is such a tight page-turner… The character I play is an extreme guy… He's a killer. He wants to be Jesse James. He grew up watching cowboy and Indian movies and wants to be that. Then he meets Mickey Rourke's character, who's named The Black Bird and he wants to partner up with him and be a criminal and kill people. He's a psychotic and very bad guy… The thing about him is, he's not the bad killer, the kind of guy that sits and stews and then has these rageful outbursts. He is this extreme extrovert who never shuts up and tells you ridiculously tall tales about himself and mythologizes everything… Hyperactive, hyper, hyper guy wearing cowboy boots.
--
IGN, March 30, 2006 - about his role in Killshot

 

Joseph Gordon-Levitt

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The accepted understanding of what happened in Auvers among the people who knew him was that he was killed accidentally by a couple of boys and he decided to protect them by accepting the blame. … These two boys, one of whom was wearing a cowboy outfit and had a malfunctioning gun that he played cowboy with, were known to go drinking at that hour of day with Vincent. … So you have a couple of teenagers who have a malfunctioning gun, you have a boy who likes to play cowboy, you have three people probably all of whom had too much to drink. … It's really hard to imagine that if either of these two boys was the one holding the gun — which is probably more likely than not — it's very hard to imagine that they really intended to kill this painter.

 

Vincent van Gogh

 

The accepted understanding of what happened in Auvers among the people who knew him was that he was killed accidentally by a couple of boys and he decided to protect them by accepting the blame. … These two boys, one of whom was wearing a cowboy outfit and had a malfunctioning gun that he played cowboy with, were known to go drinking at that hour of day with Vincent. … So you have a couple of teenagers who have a malfunctioning gun, you have a boy who likes to play cowboy, you have three people probably all of whom had too much to drink. … It's really hard to imagine that if either of these two boys was the one holding the gun — which is probably more likely than not — it's very hard to imagine that they really intended to kill this painter.

 

Vincent Van Gogh

 

It’s not a character like in a book or a movie. He’s not a bus driver. He doesn’t drive a forklift. He’s not a serial killer. It’s me who’s singing that, plain and simple. We shouldn’t confuse singers and performers with actors. Actors will say, “My character this, and my character that.” Like beating a dead horse. Who cares about the character? Just get up and act. You don’t have to explain it to me.

 

Bob Dylan

 

Beginning a book is unpleasant. I’m entirely uncertain about the character and the predicament, and a character in his predicament is what I have to begin with. Worse than not knowing your subject is not knowing how to treat it, because that’s finally everything. I type out beginnings and they’re awful, more of an unconscious parody of my previous book than the breakaway from it that I want. I need something driving down the center of a book, a magnet to draw everything to it—that’s what I look for during the first months of writing something new. I often have to write a hundred pages or more before there’s a paragraph that’s alive. Okay, I say to myself, that’s your beginning, start there; that’s the first paragraph of the book. I’ll go over the first six months of work and underline in red a paragraph, a sentence, sometimes no more than a phrase, that has some life in it, and then I’ll type all these out on one page. Usually it doesn’t come to more than one page, but if I’m lucky, that’s the start of page one. I look for the liveliness to set the tone. After the awful beginning come the months of freewheeling play, and after the play come the crises, turning against your material and hating the book.

 

Philip Roth