I think we're [me and my son] different. He plans, organizes and intellectualizes more than I do. It wasn't until I worked with Federico Fellini that I understood what my problem was.

But even with no money you could still go to places like the Scotch Club and, you know, John Lennon might be sitting right over there, but I was certainly not a part of any of that circle. I was truly peripheral.

I had a kind of meandering little career, and then I was given a chance to play one of the bottom six in The Dirty Dozen.

I thought, "Oh, my god, that's what happens every time I talk with a journalist in the middle of shooting and I talk about my character. I describe him, I objectify him, and I kill him." So, I've never spoken with a journalist in the middle of a film. I don't do the EPK until the very end of a film. I can't talk about Kiefer's process, but what he brings to the table is beautiful.

I come from Nova Scotia, and I'd never seen a theater or been inside of a theater. When I was 17, my dad asked me what I wanted to do, and I said I thought I would like to be an actor. I didn't have any idea what it was to be an actor. None. I'd wanted to be either an actor or a sculptor, which are both essentially the same thing. That's how it all started for me.

I have been able to play a lot of guys and they have kept me working.

Not too much, though there's a certain amount of rancour and bitterness when someone tries to fire you.