I was a commercial artist when I left school, but luckily I became an actor. I've painted for many, many years. Now the last few years it's gotten more serious.

I didn't think that and I didn't verbalize that to myself or within meetings that we ever had, but we wanted to make a hard-nosed, gritty, realistic spy thriller. Roger talked about using lenses. He shot hi-def, but using anamorphic lenses that he'd found from this warehouse. He was so thrilled with that. Him and Romain [Lacourbas] were just like kids in a toy store with their lenses.

Being with my wife and children in Kauai, seeing old friends there, being on the beach, painting, paddleboarding. Sitting under a Kauai moon with a bonfire going, buddies around. Those are the things that kind of make my world turn.

The Bond was so big and mighty in my career, and it is the gift that just keeps giving. I wouldn't be here today talking about "The November Man" if it hadn't been for James Bond. So, there was a desire, a want, and a need to make this film, "The November Man." I loved the title. It has a sensuality and a mystique to it.

I'm Irish, for gods sake. I'm a romantic.

It never felt real to me. I never felt I had complete ownership over Bond. Because you'd have these stupid one-liners - which I loathed - and I always felt phony doing them.

That's it. I've said all I've got to say on the world of James Bond.