People think because I went to Yale that that implies privilege, and it is a privilege in the sense that it's an incredible opportunity.

I've been friends with the guys in Radiohead for a lot of years, and I watch the way those guys work with incredible envy. Because whatever the slings and arrows of dealing with the record business, at the end of the day, they have total creative autonomy. They don't need a lot to do what they do, and Thom [Yorke] and Jonny [Greenwood] and the guys have their own joint in their hometown.

I do find myself drawn more to pieces that I feel are wrestling with the way that we're living now, what we're all going through.

But at the same time, the film industry just got torched. The risk tolerance for the types of movies we're talking about is lower, and the reason for that is that the captains of the industry were asleep at the switch when their core business was being disrupted. And they're never getting it back. In a way, it makes it all the more exciting when the good ones get through.

There are tens of thousands of charities and hundreds of thousands, getting towards millions, of people now using it. And when I flip through it, I'm just blown away by people.

As an actor, if you step to the side and you look at [Thornton's performance] technically, and you try to imagine doing what he was doing, most people would panic. Most people would be on the set, and they would be panicking, going, "I'm not doing anything!" All the ham instincts in you would be screaming, "You've got to indicate something here." And it's beautiful, in a way. And so I appreciate, even as an audience member, the courage that it takes to be... frankly, to be subtle.

To me, Fight Club was a comedy. When [David] Fincher sent me the book and I read it, the first thing I asked him was, "This is a comedy, right?" he said, "Yeah, that's the whole point," and I said, "Okay, I'm in." I certainly wasn't imagining myself as a dramatic actor when I was running around in my underwear in that film.