I felt a gravitational pull to the material so that there's a certain element of acting that's not really necessary. I've really liked this in foreign movies before or I've observed others working with them and I've noticed that there's a method that goes on where the actors try and get the children, like the child actor, to interact with them in a real way. It seems like you're the adult trying to get the kid to fall in love with him.

Saigon is hot, full of atmosphere, activity, and commerce.

If you run an Internet search on Vietnam and the war, most of the information you get begins at about 1962. I think this is telling. It is missing the whole period that led up to the reasons the war happened in the first place.

While green-screen work, find a way to stay true to whatever it is that it takes to act a scene out, and make sure that you use your imagination as best as you possibly can, still stay loose, and still allow yourself the liberty of doing what you need to do as an actor, and then work within the confines of what is actually possible.

It's nice to know that if you've worked really hard at something, it gets recognised with a tick in the success column - however you define that, be it making a bunch of dough, which the actors never see much of, or whether it's a piece that's enlightening or stays with the audience maybe six, seven or even eight or 10 years later.

Of course I was a dork, but that's OK. Because all the coolest people I know were dorks.

I wish I could go home. I've been on the road since May. I wonder if my dogs still remember me