What I learned about acting, from my experiences directing, is why so many producers and directors don't like actors. You go through all of this work securing a location, figuring out how to get electricity there, how to get trucks parked where they need to be, and where catering is going to come from. And if the actors don't come up with some magic, it actually didn't matter. That creates a lot of animosity towards the actors.

I always felt that a marriage works best at a farm... where you're together and everybody has clear-cut roles; they have chores, 'you take care of this' and you know. But it's hard.

I don't have a lot of experiences like this where every time I thought I had a good idea it was totally wrong. I had to give in completely and just try to make the movie Alejandro Amenábar was trying to make.

'Brooklyn's Finest,' this is the kind of movie that's why I want to be an actor, to tell real-life stories. This is where I feel my job is, to interpret life.

Whenever actors tout off about doing their own stunts, it's always ... they're so protective of you that I always know these stunt guys are so good [and] they're never going to put you in danger. But it's fun to do something kind of exciting, even something as simple as driving 70 through a tunnel with five motorcycles ... it sounds simple, but it's actually really nerve-wracking.

When you make a movie with Alejandro Amenábar, he very quickly... it was very clear you're kind of operating in his dream universe.

Friends can hurt you, but the possibility of pain with lovers is so much greater because your expectations are so high. You don't ask as much of your friends.