There's a ruthlessness to the city now that wasn't there before. I was in Dublin a few months ago, when we were shooting Breakfast on Pluto, and if I saw one kid throwing up on the street, I must have seen a hundred of them.

The cause of making the world a better place for children unites us all.

Every cliche about kids is true; they grow up so quickly, you blink and they're gone, and you have to spend the time with them now. But that's a joy.

People ask me if I ever feel outside the Hollywood loop, and I never do, because both of us do a lot of theatre, so it's great for New York and it's also half-way between Europe and the west coast, so it's the best of both worlds.

Acting with creatures that aren't there is kind like acting with an actor who refuses to come out of his trailer. You still have to go on and do the scene.

I certainly notice the vitality in Belfast, which wasn't there in the Seventies. There was a war going on then. Now there are cranes everywhere. There really is a sense of renewal and hope.

Listen, I know how old I am and that I'm just a shoulder injury from losing roles like the one in Taken. So I stay with the training, I stay with the work. It’s easy enough to plan jobs, to plan a lot of work. That's effective. But that’s the weird thing about grief. You can’t prepare for it. You think you’re gonna cry and get it over with. You make those plans, but they never work.