When you have to play a character that seems to be a relatively decent person and seems to be like yourself, I think the trick in that kind of character, so that you don't become a cliche, is to find where their weaknesses are.

The love scenes that worked, regardless of the director, were the ones where the actors weren't fearful. When somebody was fearful, you could see it right away. It takes you out of the story, and that's to be avoided at all costs.

It's been perfect. I can still ride a subway and work with great people. I can't imagine being Julia Roberts. I don't have the fortitude to withstand that kind of attention.

I'm always shocked that gay marriage is such a big deal. You have to realize how precious human life is, when there are tsunamis and mudslides, when there are armies and terrorists - at any moment, you could be gone, and potentially in the most brutal fashion.

I think for me, when I'm looking at a script I really try to consider what experience am I embarking upon, because for me it's really about the experience.

I think the central metaphor of the movie is this notion of what the advertising industry does. In order to make someone want to buy something, they first have to make them feel bad about who they are in order to sell them that thing which will make them whole again, and happy again.

Even when I think about the fact that energy can become matter and matter can become energy, I have a very strong feeling that there's something afterward.