There is something universal in the theme of a man trying to save his family in the midst of the most terrible circumstances. It is not limited to Sierra Leone. This story could apply to any number of places where ordinary people have been caught up in political events beyond their control.

I've been in plenty of situations where I thought the film would turn out one way or my performance would be looked at one way and it was an entirely different situation.

There is a segment of the American population that has been excluded from the national myth, and that should be redressed.

And how deeply do I let business considerations affect [screenwriting] choices that might otherwise be more or less esthetic? . . . Do I choose the upbeat rather than the downer ending because I know it will score better at the preview? Can the idea be sold in a single sentence? Can it compete with space aliens and tornadoes and missions impossible?

It's always great to do a movie that you find is entertaining, but also can give some sort of political or social message.

What I was really overwhelmed with by Africa was its tremendous natural beauty; I got to go to some pretty amazing places. Every other weekend we got a day or two off and go on a safari or the natural wonders of Africa and if anyone gets the opportunity to go there, it's something you have to do in your lifetime.

I have nothing against diamonds, or rubies or emeralds or sapphires. I do object when their acquisition is complicit in the debasement of children or the destruction of a country.