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.

My favorite stories are human, so I'm always looking for...

Oh, I like going down the rabbit hole. You know, that's kind of my job. When you play Macbeth, you gotta dive down that one. The trick is figuring out how to do it with love and a sense of humor so you can pop back out again. But, kind of the actor's job is to go down the rabbit hole.

Alejandro Amenabar is a different kind of director than I lot of the directors I've asked for. He really asks you to enter his dream as opposed to, you know, a guy like Sidney Lumet or something is going to ask you to create a character almost like a documentary. He wants you to make the people really real and he's going to capture it like a documentarian.

I think that if you walk through this life and I end up being a bad father, then it won't matter anything else I achieved in my life. It will all be irrelevant.

I was being taken around by a press agent at the Venice Film Festival at age 18. Was it fun? Sure. But it was a dangerous path to be walking on as far as having a substantive life. Because the casualty rate at the Venice Film Festival for 18-year-olds? High.

The drones are really interesting - how have the troops withdrawn from Afghanistan? Because we've upped the drone strikes and most of the country doesn't even really know what that means or who we're killing or... it's such a new weapon that we don't know what the long term impacts of that kind of military action is going to be.