Working with Jim Sheridan for instance, we did this movie Brothers. Jim will ask anybody - we'll get a delivery on set, and like the poor delivery guy will be like, "Here's your pizza," and he'll be like, "Come over here. Come here. I want to ask you a question. Do you think this is real? What do you think? Should we do another take?" And they're like, "I, uh, you want your pizza?" There's no shame in everybody's ideas. There's no shame in somebody not knowing.

My experience on 'Jarhead' was life changing.

The truth is most of the films that make a lot of money no one remembers, and I'm not interested in making films that no one remembers.

I had been brought up in an elementary school where, my first few grades, I remember being specifically told that my teachers were gay. I was just that age and that was just how it was, and my parents were very... You know, that's how I was raised. Like super-progressive.

What made me most courageous was that I realized I had to try to let go of that stereotype I had in my mind, that bit of homophobia, and try for a second to be vulnerable and sensitive. It was f**kin' hard, man. I succeeded only for milliseconds.

I don't think I had any idea at the time how to work with someone as masterful as he is. And I don't think at the time I really understood what was happening. I think I was in a space where I was like: there are all these things. I was shooting all these takes with David, and I was just confused, as a person, and as an actor feeling a little too big for my britches and that this thing was happening and then also not having enough skill yet, and technique to know exactly where I was, and know about the character.

Uta Hagen would say, there's the representational actor and the presentational actor.