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 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 don't see myself as the 'Hunk of the Month'.

To my eye, women get sexier around 35. They know a thing or two, and knowledge is always alluring.

I love movies, don't get me wrong. But I don't go to the cinema. I see movies at the end of the year as a glut from the Academy. I binge-watch all the nominated films. Painting fills that void now. It's oils. It's acrylics. It's figurative, portraits and landscape.

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.