I paint in oils, I paint in acrylics. I paint figurative and landscape portraits. It's all in my own kind of style. I'm self-taught.

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

I found myself in the changed man theory the other night thinking, "Yeah." I thought, "My god. If we could do this again," but there was nothing specific there. There's just the kind of vague sensation of how I'd like it to go. I allowed myself that gift to think that.

I'm an actor first and foremost. My producing credentials are just to say, "Yeah, I love this story and now let's bring the people, the ensemble together," and I get out of the way. I have no desire to check on schedules and shooting schedules and money and stuff like that.

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.

I think you make the best with what you've got, you know? Sometimes you have very little. And you just always try to rise to higher ground, because you're going to suffer one way or the other, so you just hope that you have strength and perseverance and good friends and faith, some kind of faith, to endure and move on to greener pastures.

I lost track of it thereafter. I wish I had a piece of it. That would have been very, very nice. It was one of those little things they get you on the Bond and then suddenly your face is every which way.