Pick a dysfunction and it's a family problem.

I would say that among my many huge emotional miscalculations was my taking a film career for granted. It is the most awesome privilege to be able to use one's imagination and wit, physicality and musicality, conscious brain and unconscious instinct in the service of a work that has a chance to move and excite and amuse and delight people all over the world, including long after we're dead. What a noble calling! And I felt it was just there for me as a kind of given, some sort of inherited birthright-when in reality it's the most magnificent luxury.

I guess the issue for me is to keep things dynamic.

I've always been a fella who put most of my eggs in one basket and then take a dump in the basket but I really don't know.

I think life changes every year. This is just a little more comfortable.

I remember when people said, "Man, that's a powerful scene in the movie!" and I was like, "We just shot this thing before lunch, I don't know, he tears a log apart, I said some words".

I saw School of Rock, and I was like, why haven't I worked with Richard Linklater already? Then by the time I got him I was like, I'm really pissed off I feel like you owe me some retroactive swag. He gave me the 10-year anniversary "Dazed and Confused" T-shirt, which I still wear with relish.