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'd really rather that nobody had a gun, and then nobody would have to worry about it. That would be more my theory. In America, there's this knee-jerk response that more walls and more guns make people safer, and I'm entirely suspect of that way of thinking.

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.

In your mid-twenties, the paint is still wet on who you are.

I've had a lot of experience in independent film, and about how to choose. You've got to be very discerning about where you put your five bucks, and where you cut and what you don't cut.

Often you see a famous actor who says they produced something, when all they did was claim to have an idea at a dinner party and make three phone calls.

I really did Regression to work with Alejandro [Amenabar]. I found him very interesting. His movie, The Others, is one of the better scary movies of the last period of time.