As actors, we were fighting that tooth and nail because of fear, because language is a crutch and dialogue is a crutch, and it's so easy to just have a great writer write you a line.

I think good filmmaking is when you really hold the mirror up truthfully, and you don't angle it and you don't hide things with smoke and mirrors.

It [Hancock] happens to be a big budget film and big star like Will Smith, but it actually has a lot of weight to it. But it was very smart and very intelligent and had this kind of historical element to it that I was fascinated by. It's not silly. It's not stupid. It's fun, but I think it's smart. I think Akiva [Goldsman] writes really interesting material and there you have it.

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 really love having an awareness.

I think there is a great quote - and I feel horrible that I don't know who said this - but it was a great quote, it says, "The only difference between all of us are the ones who are loved and the ones who are not."

Whatever field you can do that, that's where you want to do it, and I think that's why people like David Fincher and Ridley Scott are interested in it, too, because when you sit down on a meeting in HBO and they're like, "More, more." You're just like, "Oh yeah, I love this." Sometimes it's a little harder in film. I think also it's a great audience, take advantage of it. It's a great audience.