I never think that a film should answer questions for you. I think it should make you ask a lot of questions.

When people come together too young, they try to become one person. As you get older, you realize that you don't want to become one person because then you lose the person you are.

But work that's got real substance does make people feel, "There's someone else out there who relates to my experience, or who just helped me understand my own experience a little bit better." And I think that's still got enormous value.

I've already spent a lot of my life doing what makes me go. There's a life out there while I'm still young, able to move, able to just sit at peace in the water - I should be spending much more time doing that, rather than continuing to go through this artistic struggle.

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.

For Keeping the Faith, I looked at [George ] Cukor's old films like The Philadelphia Story, stuff that's hilariously funny and really smart with a cutting critique in the humor, too. With this, when I read it, I was laughing a lot.

Sometimes their oppression of emotion and the weird way it comes out is more interesting than painting it in bold primary colors.