I don't think nostalgia is very useful to me. There is a story to be told, there's behaviour to create or to bring to the screen that will help tell that story, and nostalgia is just not really a big part of my emotional package.

I think what a lot of action movies lose these days, especially the ones that deal with fantasy, is you stop caring at some point because you've lost human scale.

I just like the process of taking something written on a sheet of paper and giving it life and shape. I like the collaborative process of filmmaking, which is all simply to say that I love my work and I would continue to look for things that have the potential to be engaging and successful.

I knew that there was an aspect to this story that was beyond the typical and that it was something very important about America, about our culture, and about bringing a story to a new generation that perhaps didn't know the details of it, (and) hadn't had the visceral experience that this film is [42].

I had no idea what I wanted to do with my life, so nothing of what I was studying seemed to fit. I know now that I should have taken advantage of that time and that I missed a great deal of the opportunity to educate myself.

What I found was an emotional consistency with him. The words, the scenes, the situations - I wasn't mimicking what I thought Branch Rickey's emotional reality would have been.

Acting was a way out at first. A way out of not knowing what to do, a way of focusing ambitions. And the ambition wasn't for fame. The ambition was to do an interesting job.