The constant buzz and pressure and noise and static of the Internet, and the way it makes young people feel makes it difficult to grow up and develop the way one might want to.

It just makes sense to remember gratitude and the place that gratitude should have in your life, and that none of us are owed these wonderful experiences, and we should always make the best of them.

The idea that a film is created in the editing room - it's only a certain kind of movie that's made in the editing room and it's not one that I really want to see.

The script [of Regression] wasn't the draw for me. It was largely Alejandro [Amenabar] and his way of talking. To hear him talking about the script was way more interesting than the script. He wrote it, and so, English is his second language. It's an interesting thing. I've had that before. I was directed by Alfonso Cuarón before, too. It's always interesting when you're being directed by somebody like that. So much of directing is about communication, and finding the right words, and what it means, and how to convey certain emotions and ideas.

It's interesting to get older and realize that part of your job growing up in this profession is to help the next generation. More and more, with Boyhood and with Ellar Coltrane and with Emma [Watson], I start to see that role. There's no better way. Nobody wants advice, so you can't really give it. You just have to try to wish them well on their journey.

If I do three movies in a year, I don't feel like acting ever again.

Have this Chet Baker movie coming out and in that situation, I went down the rabbit hole studying Chet Baker and being obsessed with the period and the music and the relationships and the dynamic, and everything, drug addiction. There was so much I wanted to get at to kind of get at the truth. With Regression, I was certainly in Alejandro's [Amenabar] hands.