I had an unbelievable experience on '24'. We shot 198 episodes, and I was as excited about shooting the 198th as I was the first.

There are very few films that I've ever seen in my life that would be as silent or vacant as something like Jeremiah Johnson, and that to me was unbelievably captivating. You can see the same about [The Outlaw] Josey Wales: there's very little dialogue, and yet it contains such a deep, rich story. I've always thought of the western as American storytelling at its best.

I've wanted to work with my father for 30 years, and I'm really grateful that I finally had the opportunity, and it ended up - the experience and, I believe, the film - better than I could ever have hoped for.

I think one of the things I was most interested in finding out was how differently we approached our work. And my reality was that we didn't approach it very differently at all, which was funny.

My focus on 9/11 was on the victims - in the towers, in the planes - and all that loss.

One of the big draws of the show is here's a guy who is ordinary in a lot of ways but, due to his profession, he's placed in extraordinary situations that he has to make right with action and with thought. That's what is appealing about Jack - he takes charge.

My whole mood or sense can change by virtue of the music that I'm listening to. It really does affect me on a visceral and emotional level.