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.

The only thing I feel passionate about is my wife.

Vietnam was a lie but at least there was a political agenda. It was the domino theory. Iraq is about nothing but George Bush's ego laced with imperialist ambitions. And it was helped by your government.

At my age, you sort of fart your way into a role.

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'm running out of time, and a Western is America's answer to a Greek tragedy, so that's what we did. [Kiefer] hired Brad [Mirman] to write the script and he had the ideas, and then he and I did stuff on the script to make it a little cleaner to ourselves. And then, we played it. We were just actors working together, and our DNA must have informed it somehow. Certainly, we came out of it purified a little bit.

When you shoot a film, when it was film, there used to be rushes and normally a director would look at them the next day. All directors look at the rushes, except for Fellini. I asked him why he didn't and said, "Because it interrupts my fantasy." What he was trying to say was that he had a three-dimensional, vibrant, living, volatile fantasy going on in his head, and when he looked at rushes, they were two-dimensional and they killed it.