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.

You're always working in the movie. Never was I me, and never have I been me, nor was he him. We were the two characters. But the character that I was playing was informed by my DNA, looking at him informed by his.

I would look a little silly playing Casanova now.

No, I'm not rich. I had a tax problem in this country, curiously enough, and my accountant said the British government was patently wrong in taxing me, and they were, but we couldn't persuade them and it cost me everything I had.

When I do a film, the days before or the night before, I throw up. Sometimes it's just in my mouth and I swallow it back, but sometimes it's real. Whatever it is, it's hard. I don't do the first five or ten minutes of my character's appearance in a movie until the middle of the shooting schedule because I don't want him to be defined by my nervousness. So, we do the middle of the picture first.

When you look in the eyes of someone and that's what you look into, I knew him with my blood. It's not something you can actually ever get to, I don't think, without that. It was a huge gift, as an actor.

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.