The White Palace was pretty impressive. Very impressive, in fact. The day to day running of the set was everybody showed up for work. They are seasoned filmmakers over there. They have an infrastructure for filmmaking, which is very healthy. It's small, but they were tenacious, polite, timely.

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.

Acting allows me to explore new worlds, to discover characters by delving into their lives, and ultimately to become someone else entirely.

You can get totally messed up trying to please everyone with what you do, but ultimately, you have to please yourself.

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 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.

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.