I know that I'm only as good as I am because of the things that I allow into myself and into my soul, because that's the stuff that I project back out.

Fran McDormand was great because she said, 'What I used to do when I worked with him was I would just walk on the set and I would give him a big hug. Somehow his guard would just drop.' So I took that advice.

I don't try to kind of go for the overly sympathetic. I don't really like sympathy; I don't like it for myself. Sometimes sympathy you feel like, you're kind of trying to victimize someone.

I love the idea of longevity in this career. But [producing] is not about, "Let me do this because this might happen 20 years down the line." Sleepwalking wasn't a vehicle for me, it was a film that pushed the ­envelope. I want to produce good stories, versus creating a niche where I can look after myself as an actor.

I'm interested in human behavior, and what happened in my family life is definitely not a unique story. There are aspects of that I'm sure you can see through the work. But I'm just looking for something that touches me.

It's in the eyes, mostly. Don't listen just to the other actor's lines. Look at - and listen to - their eyes. That's where the emotion comes through.

I love fragrance for the pure fact that I think it's something that women utilize in a way to make themselves feel good, and I think this idea that we do it for men or for other people is such a misconception.