You don't try any less hard on the ones that don't. I've gotten lucky to work with some amazingly talented people that have helped the ones that have worked work. I think you just have to keep doing the stories you love and the characters that you love and are drawn to.

The records that I like, they have life and warmth and soul in them. Like the slap back on Scotty Moore's guitar on 'Mystery Train.' You're not gonna get that in a computer. You're gonna want a live room, you're gonna wanna bounce the tape, you're gonna want real musicians, in a room, vibin' off of each other.

Everyone's a nerd inside. I don't care how cool you are.

I talk different, I walk different, everything. I don't have one single bad memory [there]. Not one. It was my sanctuary. I hated school, wasn't good in school, and me and my dad butted heads about that. But nothing mattered when I went home to Alabama.

I can't do the same movies all my life. I'm conscious of that. But it's a trade-off. 'Dear John' allowed me to do movies I've wanted to do. You learn to balance it out. I'm still learning. Only now am I getting to do the kinds of movies that I have wanted to do. So it's a steady climb. You don't jump into a Soderbergh film.

I learned to dance at quinceañeras - big [15th] birthday parties for Spanish girls. It was always funny to bring the white guy out [on the floor] and let him look like a fool.

I really get inspired by songs. Like, if I hear a thug "Want to kill ya" song, I'm ready to go out and get crazy. Or if you hear this really sexual, sensual slow song, I want to go have sex. I'm very animalistic when it comes to stuff like that. Very basic emotions.