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.

Some people burn out, and some people like Clint Eastwood, he was a wild, international movie star in his 30s, and he's doing the best work of his life now. Go figure.

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 kill flies, I eat meat, you know, whatever.

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.

I did this movie, Predestination, and it's one of my favorite movies I've ever made, because sci-fi really lets you talk about ideas in a way that's not pretentious.

If you covet fame, if you covet all the superficial accolades, you're gonna be miserable 'cause you're never going to get enough praise. If you covet contributing something substantive to movies, music, literature, then you won't be unhappy.