The challenge for me was not just the prosthetic work and how to move like an older man would move, but more so how to have 50 years of experience in the workplace and talk to a young Robert F. Kennedy as if he was some political upstart that didn't know what the hell he was talking about. That was the big challenge [in the J. Edgar Hoover mоvie].

I've been in the business since I was 16, so I've had a 14-year career. I've always had acting in my blood. Doing this, whatever it is, was something I was drawn to since my earliest memories. Ironically, I lived in Hollywood, but never understood that all it took was getting an agent and being persistent.

My first date was with a girl named Cessi. We'd had a beautiful relationship over the phone all summer long. Then she came home and we met to go out for the first time to the movies. When I saw her I was petrified. I couldn't even look her in the eye to talk to her.

Sometimes I wonder will God ever forgive us for what we've done to each other? Then I look around and I realize God left this place a long time ago.

I don't think there's a specific science you can put on dream psychology. I think that it's up to the, obviously, the individual.

I like to prepare as much as possible beforehand, but there's definitely that element of fear when you're on set, and you have to be conscious of it and use that fear to drive you to work harder.

[Success] always starts with the material; it always starts with the truth and honesty of the characters that you read in the screenplay and that's rarely something that can be remedied if it's simply not there by the time you shoot the film. Thank God we had that.