I hope everyone can give the audience that real, true experience. But Mandy [Moore] and I, we definitely jump decades, and I think trying to find a base look, so that I can go back to the Eighties, I can jump to the Nineties, it was like, "All right, Milo, you're living in a moustache for a little while." Which I'm perfectly fine with.

When I was born, they didn't work. They're broken, the nerves in my lower left lip. When I was kid, I would talk out of the side of my face. When I was 16 and came up to Hollywood from Orange County, I was in this cattle call audition for Batman and Robin at Warner Bros., and they interviewed me out front of the studio. When I got home, I was like, "Oh, this was exciting!" But then when I watched the news, I was like, "Mom, what is wrong with my mouth?!"

For me, what grabs my attention about the project is usually the character immediately and then the story, and then the people that are involved.

I think that's something that always enticed me about the '40s - back then, the glamour and the style - you couldn't really make it up. You just were or you weren't. You either fit in that world or you fit in the other. Things were very cut and dry. Things were simple. There wasn't a whole lot of excess or flash to be flashy; it was real flash, and real excitement.

I think I had the good fortune to watch Sly the Artist [Sylvester Stallone]; to watch him in all arenas. As an actor, not many people get to see him turn that character on, they don't understand that he's playing a role.

I think we need to feel, to come together, to look at our differences as a benefit to who we are as people on the same planet.

I learned that I'm not young enough to think I know everything. Honestly. I think you hit a certain point in life where you expect that you have so much to learn, and you may think that you've arrived, but you have kind of just begun.