Being Irish is very much a part of who I am. I take it everywhere with me.

On "[Total] Recall" also [sets were extraordinary], but this was next-level. They built two or three blocks of midtown Manhattan in 1926 and it was inhabited with 400 extras and 24 Model Ts and a train system and all that kind of nonsense. It was madness. You would walk into shops and they would have the goods from that period, it was just huge.

At the end of the day, it's all one version of telling a story. I treated this as if it was a two million dollar independent film. I did a lot more physical work than I'd probably have to do for a two million dollar independent film with four months of training and stuff. But as far as the character's psychology or emotional life goes, I treat it just the same.

Life is apogee, apex, decline; life is death - and everything else is open to discussion.

The idea of implanting memories where by the implantee couldn't tell the difference between a real experience and a fantasy experience was really cool. And his ideas of technology - do we control technology or does technology begin to control us? His work hasn't aged a day it seems.

You're scrutinized all through your life - you're scrutinized by your family, by yourself, by society, and your friends in a certain way, shape, or form.

The sea always offers up incredible stories of survivors' fortitude. Myths of a lot of countries have variations on that.