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 don't like to have to depend on someone else to reset the props. It's like, "No, you've gotta take responsibility for it." I know how things fit and feel. To reset that stuff myself, it's easy. The prop guys are hilarious because I'll have one set of gloves and I'll keep reusing them to get the most out of it. They're like, "We've got boxes of these."

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 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.

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 just try not to subscribe to the ways of celebrity. I'm not a celebrity, I'm a working actor. A lot of the events -- the parties and the premieres that people go to to get noticed -- I'm just not into. I'll hang out with my friends, go see punk shows, read at home. At the same time, I have a production company, which is a lot of work.

Sometimes I'm an ass, sometimes I'm sweet as peaches.