I've put my friends and family through the wringer over the years, I have to say, by doing unspeakable things to people, not the least of which was pulling out poor George Clooney's fingernails in Syriana.

My mother moved abroad when I was 11, my dad wasn't around from the time that I was a baby, so I was not the product of a family, but a product of observation - of watching what went on around me, of watching who I liked, what I didn't like, what I thought was good behaviour and what I thought was bad behaviour and tailoring myself accordingly.

And I think in your 40s, you land a little bit, physically and mentally, you arrive at a place where you feel you've learned some stuff. Having children at that point meant I had something very useful to do for the next 20 years.

When you're making a psychological thriller, what you need to do is have an audience on shifting sand so they're never quite sure where they are.

In the movie, you have to decide as an actor how you are going to give a character presence. You can't really move, walk, and talk like yourself. This creates something so you have to find something "other".

It's great to have the chance to play a character before he goes to the dark side, or the yellow side if you will. Normally, you don't get that opportunity. The narrative of a movie usually demands that you are that guy from the start.

I'm not a writer, inherently. Most of the writers I've met have stories they need to tell. I don't have that. I'm an interpreter. I like getting a script, seeing a character and thinking, "Oh, wow, I know what I can do with that."