Every time I've gotten myself into trouble, it's because I'm choosing a project based on a long-term career goal as opposed to something that speaks to me at the moment.

Michael Keaton had a great, great career. I do remember when I was a young guy thinking about him, about how he'd had the chance to do it all, so yeah. But, there's nobody where I've said, "Man, I really want that guy's career."

When I was 21 I think I thought I was 31. I was always kind of doing the right thing, and it wasn't until my late twenties that I became just a completely wild asshole. So I should've had that out of my system already and I was too busy being a grown-up.

If you want a film and they don't want you, sometimes you have to go fight for it. Sometimes that ends up just being a meeting really, just sitting down with them and just saying here is my vision for it and here is why I really love it. But for the most part, I think filmmakers gravitate towards people that are excited - as excited as they are about the film and as passionate about it. So sometimes going after it isn't so much a function of auditioning as it is just sitting down with the filmmaker.

I have bullshit moments every once in a while - like every actor does.

It's funny, because there are so many stereotypes out there about actors and movie stars in general, but I've had a great opportunity to meet a lot of them, and maybe it's just because they don't behave that way around me, but I rarely see that kind of abuse of power.

Doing a film with your friend is probably the best way to end that friendship but we worked together really well. We just have that thing. Chemistry is something that... I just think it is the last thing in Hollywood, the last magical thing they haven't computerised. There's nothing you can do about it - it's either there or it's not and it doesn't matter if you're friends or not. It was just a bonus that we were.