The only thing I can point to of why I survived is I have a family that loves me and never wanted any money from me.

I've turned down good directors before because I knew the part didn't speak to me and I've worked with less talented directors before because the part I had such passion for.

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.

I have a daughter and the thing I wish for her is not love, fame, money or anything like that. It's just one great best friend. You know, if you have somebody that has your back, you're gonna be all right.

Directing is like putting together a collage.

Nightmares are a strange thing. Your worst fear is sometimes something you enjoy thinking about, for some strange reason. I don't know why that is, but it's some kind of fantasy that people play out. "What would I do to protect my children? I'd do anything." And then, you watch it play out. I'm petrified of such a thing.

I've had several moments in my career where it seemed like I might not age out of the bracket the world wants to put you in. It's hard to keep growing up inside the performing arts. It's very difficult, and presents a lot of unique challenges.