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 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'm not very comfortable with watching my performances. I don't particularly find a great joy in it. Everything is the process of making it, of getting it, getting the job, saying yes to the job. Those are the joys. Making it is the greatest joy. And then, you have to show the bloody thing. You have to show and tell, be judged. But I don't listen. I don't pay much attention. I hear the rumblings of greatness or the arrows of discontent and harsh words. Then you go, "Oh God. Why?"

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.

When I found acting, it was my saving grace - still is. That I get paid to do it is remarkable. That I get to meet people like Salma Hayek - one of the most beautiful women I know, with the most magnificent energy - is phenomenal.

Everybody gave 100%. I mean everyone, because they all knew that the film had the bones and the heartbeat of something that could be good. And everyone was in on it and wanted it for me and wanted it for Roger and Beau.

Maybe sometimes the best things are worth waiting for possibly.