I've really only had one (dream) since I got into this business at 13 years old, which was to be in this business forever. Once I did my first television commercial, I caught that itch and that bug. I want to be a part of pieces of art - as far as cinema is concerned - that people will want to see for generations to come. That's my dream.

It's not just global warming, it's not just a loss of biodiversity, it's not just the pollution of our oceans and the clearing of our rainforests and all these complicated systems, The [11th Hour] movie talks about the world economy, it talks about politics, it talks about personal transformation and environmental consciousness that we need to have in this generation to implement a lot of these changes that need to occur.

I just happen to think people are better off doing something they actually like.

I'm open to doing any kind of role and any kind of genre as long as it's interesting and as long as I feel it could be a great character to play. I never take into my own personal opinions or my own public image into account when I chose movie roles.

I've never tried to reach a certain demographic of an audience or try to say: OK, now I'm going to do this type of film to transition myself into more adult roles. Or a romantic hero. Or whatever it may be.

I touched emotions I've never tapped in my entire life. I've heard people say, 'I hope this movie doesn't glamorise drugs.

We [ with Russel Crowe] had an Arabic coach there [ in the Body of Lies] that was really helpful, because it was more so than any accent. You have to be so exact, and there's different dialects of Arabic from country to country so it was really, really difficult to tell you the truth. And one of the hardest things I've ever had to do language-wise, because it comes from the throat. It's different. And also learning about the customs and the culture and all that, so we had advisors for that sort of thing.