We should all aspire in life to do a multitude of things well - to be a great father, to be a good husband, to be a good lover, you know, to try to do things the best you can is very important to me.

When you're studying drama, when you're a young actor, there are simple rules about acting. "Why am I here? What prevents me from leaving? What am I trying to get? How do I hide something?" So when you're making a film like Abel's movie, you want to be thinking about those things all the time. And you wanna be armed with those things, and you hope the other actors you're working with have the same understanding of drama and scene and acting. Sometimes it works and sometimes it doesn't.

My father taught me to paint when I was young with watercolors and so I learned at a very young age the essential elements of the value of light and composition.

For example, Michael Mann's film Collateral - there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.

Photography is about light and what it does and how it is captured on a piece of negative.

So the thing that's beautiful about the Rolleiflex is that I open the camera up from the top and put my face in and that the camera's all about composition and all about light.

We should all aspire in life to do a multitude of things well - to be a great father, to be a good husband, to be a good lover, you know, to try to do things the best you can is very important to me.