I was a really nervous kid. I was extremely sensitive. Incredibly perceptive.

It's just that... working on Green Lantern, I saw how difficult it is to make that concept palatable, and how confused it all can be when you don't really know exactly where you're going with it or you don't really know how to access that world properly - that world comic book fans have been accessing for decades and falling in love with.

I'm sure I have a lot to atone for, if there is a judgment day. It's gonna be a long list for me. It goes right up until I was about 18 and then I sort of straightened out.

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 think we know too much about actors as it is and their personal lives and it's this information age where we're stimulated constantly by the celebrity buzz effect or whatever it is, these web sites and blogs and different things.

You know, there's nobody where I've said, 'Man, I really want that guy's career.' I mean, each of us has to make our own go of it.

When you sign on to say, "Okay, yeah, let's develop this," usually that turns into, "Oh, he's doing it." But there's no script for some of these things.