In 1998, Thomas was nominated for a SAG Award for his work in the movie Boogie Nights. The category was Outstanding Performance by a Cast in a Theatrical Motion Picture.
Thomas is 5' 10¾" (1.80 m).
Tom is half Irish, a quarter German, and a quarter Italian.
Tom is a big fan of the band The White Stripes.
Tom accidentally stabbed Kevin Nash while filming a knife fight scene in The Punisher (2004).
Tom has a daughter, Harlow Olivia Calliope, who was born on February 20 2003.
During the making of the movie The Punisher, Rebecca Romijn accidentally sewed a prosthetic wound to Toms actual skin. Tom amazed the cast and crew by staying in character and never stopping the scene to alert them only revealing it later when they attempted to remove the fake wound to find it was now attached to his body.
Thomas married long-time girlfriend, actor Patricia Arquette, in June 2006. The pair tied the knot in Venice, Italy, in front of close family members. It is the second marriage for both.
Thomas: (On movies that dont come out well) It's disappointing, and then you move on to the next one. Some work out better than expected and others fail miserably and that's part of what we do. I try to look at my career as a long-term thing. It's longevity that matters. You look over your career and it's the span of choices that you've made over a period of time that make a career, and that also make a statement. So, you miss a stepping-stone every now and then. It's not the end of the world, but it's disappointing.
Thomas: (On Mexico) Mexico is fantastic. Mexico City is such a wonderful city, and so unique. It's so crowded and so dirty and there's so much life and the food is so fantastic. I had a great time.
Thomas: (When asked when he started to support himself) I started supporting myself in '97 and I got to LA in '89-90. It took me 7 years of bouncing around.
Thomas: (When asked if he is a traditional or exotic dater)
I like dinner and a movie. I like exotic dates, I like erotic dates, and I like normal, down-home, regular old dates, too.
Thomas: (When asked if he ever went to clubs)
No, I was a young, reclusive, introverted, shy kind of person. If I did go to a club, I was a wallflower. I couldn't really get it on, so to speak, with the ladies. I never had that ability and I think that's why they picked me for this part (laughing).
Thomas: (On his favorite part in the Sweetest Thing) A lot of it cracks me up. I like the scene where I'm trying to articulate myself to Cameron - that scene still cracks me up. The three of us, Roger, Cameron and myself wrote that scene together because the scene that originally ended the movie was pretty much your standard Nora Ephron kind of scene - [the type] the studio loves. The three of us were never satisfied with that and we found the time in San Francisco to rehearse in a hotel room. We really found a flavor to that scene that had a taste of originality to it, that tasted more real to the three of us. That's really what we were going for and I'm proud of that scene. Every time I watch it, it still makes me smile because there is a lot of me in there and there's a lot of reality in there.
Thomas: (On Cameron Diaz and getting the part in the Sweetest Thing) [You hear] Cameron Diaz, then you flip to the end and make sure that I'm the guy that's kissing her, and then you say yes. The script went around in Hollywood a couple of years ago. It was so hot, everybody wanted to do this movie. I felt real honored and proud when I got to be a part of it. A lot of people were after all the parts and a lot of people were out to direct it. I think we were all feeling pretty high in our britches when we landed that job.
Thomas: (On Cameron Diaz) She's terrific. She's such a sweetheart. She's such a sweet girl, easy to talk to, and easy to get along with.
Tom: There was a time when I just did [movies] to get the experience and training. Now I only do them because they are so good that I have no choice, and Stander was a prime example. I feel strongly that I shouldn't get involved with anything unless I'm 100 per cent committed. I don't need to go out and work so much. I just want to spend time with my kid. I am turning down as much crap as I can until I find something that really bowls me over.
Tom: I don't go to work to have fun. I turn up, say my lines, collect my check, and then go home to my wife and kid. I ain't there to stick around and laugh and cut up with people, and I ain't there to giggle and play jokes and pull people's underwear down and stuff.
Tom: When I played Mickey Mantle in 61* (2001) (TV). We were operating on a real high level. All the athletic training that we had to go through was something that you had to condition your body at a high level of athletic skill and we were playing baseball for three months. I was constantly getting injured, pulling muscles in my shoulder, muscles in my back, muscles in my groin, leg muscles. I was always having electric stimulation going at some point in my body. And the swings that we were taking were real. There's just a high amount of injury when you're playing a sport at that level.
Tom: (On his brutal training for The Punisher) It was about six months of brutal training, twice a day at the gym, a Navy Seal guy would come over to my house and take me to the firing range, firing live rounds down the range, primary and secondary weapons. Learning edge weapons training, one man military incursions, hand to hand combat, Filipino martial arts as well as Israeli martial arts. It was brutal.
Tom: (On his approach towards acting) I try to work with people who are better than me. I for a long time considered myself a journeyman actor where I was learning my skills and honing my craft and waiting for the opportunity for something like this (The Punisher (2004)) to come along. I'm not good at vocalizing what my exact approach is, but I believe in using whatever works and making a sort of amalgamation of a number of different styles or methods to get the job done. I think that's what a lot of film acting is about. It's sort of a mongrel like approach these days. We use a number of different theories or beliefs to get you where you need to go. It's a personal experience. I don't believe in one particular system or method or another.
Tom: (On being the leading man) I think that leading man status opens up a number of doors for you and allows you the opportunity to do a number of different kinds of roles, so I don't see myself leaving behind character work just because I can headline movies. But it's certainly more interesting to be where I'm at in my life now, to be a more integral part of the process of creating a film and taking less of a backseat and more of a front seat driver opportunity is interesting to me now.
Tom: (On his role in "Deep Blue Sea") You gotta start somewhere. Whether it's indie film or whatever. Anything's a start, wherever it happens to fall. But, you can't just come out of nowhere and jump into an $80 million film, I don't think you'll ever see that happen. But I've always wanted to do a picture like this.
Tom: In a Indian film that I did when I was 17 years old, and that's how I got into acting. I was living in Maryland, and some Indians came to Washington DC looking for a blonde kid to appear in an Indian film. It was like a Romeo and Juliet love story between a white American and an Indian girl. They wanted me to stay in India and I did another film over there, they gave me an apartment, a car and I was an Indian movie star at 17. But then I decided to return to America, studied acting, did a lot of theatre.