When you make a movie with Alejandro Amenábar, he very quickly... it was very clear you're kind of operating in his dream universe.

And the joy of my job - and it's really true - is that it's constantly evolving and changing.

When I see Lionel Messi play soccer, he lets the game come to him. He lets the game unveil itself to him, then like a lion he eats the whole thing.

When you do 'Before Sunset,' you know while it's a limited audience, there was a very small group of people that love 'Before Sunrise.' You feel a certain pressure to make sure that you uphold a level of quality that has been a bar. You set a bar and you have to at least match it.

What I learned about acting, from my experiences directing, is why so many producers and directors don't like actors. You go through all of this work securing a location, figuring out how to get electricity there, how to get trucks parked where they need to be, and where catering is going to come from. And if the actors don't come up with some magic, it actually didn't matter. That creates a lot of animosity towards the actors.

Right now, if you're interested in being a dramatic actor, they're not making that many just regular dramas. Movies have to have some other thing going on.

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.