And consequently, you have this rich looking film, which gives it this kind of muscular feel, deep focus, soft focus look. I'm not that great on development. I can see where things go wrong, but Beau, Carl and Mike Finch, they worked on it relentlessly. And then I would see the material and I would say, "Well, that just doesn't ring true. I don't quite know why that's happening."

I live a very simple existence when I'm not on the road. Because when I'm on the road making a movie, I'm away from home.

Education isn't a result. It's a process.

You have to move forward. It's constantly changing. Everything changes and everything falls apart. You have to be nimble and on your toes and accessible to it all. Not everyone is on board with this.

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 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'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.