I had the luxury of working on the script with Andrew [Dominik] for a good year before the film started, so I was already intimate with the story [of The Assassination of Jesse James] and felt quite prepared walking into it.

I know when I go outside, there'll be a van or two and they'll probably follow us four out of seven days a week, trying to get something. But I'm just going across town and I know they're just wasting their day, so it doesn't bother me anymore.

It's a lovely experience walking around a museum by yourself.

I find all of my performances come down to mathematics in a sense - how do you approach the problem of this character? Sometimes I crack that problem, sometimes I don't.

My kids are just waiting for me at home. I'm their father. They're wondering, 'When's Daddy coming home?'

I don't want to die without scars.

Religion works. I know there's comfort there, a crash pad. It's something to explain the world and tell you there is something bigger than you, and it is going to be alright in the end. It works because it's comforting. I grew up believing in it, and it worked for me in whatever my little personal high school crisis was, but it didn't last for me.