I like [that] there's a certain inherent drama to those jobs that is exciting to tell stories about and it's still real life. I'm a little less interested in the current fad of being obsessed with superheroes and things that are so out of the box.

I meet a lot of young people that want to go into acting because they think of what it will do for them. If that's the case, it can be a very, very painful profession. But if the kids want to do acting because they love it, and they want to give to it, then they can have a great life. It's really about as simple as how you look at it.

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 process differs... my process for a Richard Linklater film is very different than a process for Training Day.

The girls who like me aren't the ones I like. Or, if I do and they want to commit, I suddenly need tons of time with my friends.

Success isn't measured by what you achieve, it's measured by the obstacles you overcome.

It's certainly an interesting moment to try to talk about, 'cause you could make a great show about the police force right now, with all that's happening in the news and Ferguson and all of it.