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.

I suppose playing an older man is a way of preparing myself for getting older.

We were both [ with Russel Crowe] hand-plucked to do [The Quick and the Death]. He had done Romper Stomper and I had done Gilbert Grape and so we were hand- plucked to do this big budget film. So we were both very bright-eyed and bushy-tailed.

I never thought I could travel unless I had a wife or someone to share it with. You don't necessarily need that, but I am the type of person that wants to share a lot.

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 have the same problem as Edward Furlong. I'm so thin!

You learn after you've been in the business for a while that it's not getting your face recognized that's the payoff. It's having your film remembered.