See, the 'On the Road' that came out in 1957 was censored. A lot of the honesty of it, the bitter honesty, is in the original scroll version that came out in 2007 on the 50-year anniversary. Back then, there was so much post-Second World War fear that was imposed on everybody - 'You must live life this way' - and these guys were bored.

I had done chorus before in school, but I was only trying for an easy A. I was a bass going 'dum dum da doo wop.

In the present time you don't really establish what you're going through, but after time it's declared something. Right now there could be some writers doing something expressing their thoughts in a whole different style that we're not aware of. This could be the 'in-between the notes generation.

I think the only thing harder for a parent is having to sit down and watch you do a dying scene. I've died in three films, and my mom begs me, "Just tell me you don't die at the end."

It’s funny, though, speaking of fathers and sons, because me and John Goodman played father and son, like, five or six years ago in the film Death Sentence [2007], and I got back with him again in Inside Llewyn Davis.

I grew up on a farm in a small town where you do or say one thing and everybody knows about it. You see it happen, there's always the town gossip - 'Oh did you hear about so and so, or did you hear what went on in this household?' So I learned at a very young age just to keep my mouth shut.

It was close to like a 67- or 70-day shoot for 'Tron' on stage, in the suit. You can't even sit down during the day because of all the cables that divide the foam rubber and all the electrical circuits. We had these stools that were tall with a bicycle seat on them and you're just looking at a blue screen all day.