My very worst day on 'Green Lantern' was nowhere near as difficult as my finest day on 'Buried.'

As a kid, I think I wanted to be the on-set dresser for 'Charlie's Angels'. My goals weren't lofty. No. I just wanted to someday quit my paper round and that was about it.

It's just a moment that doesn't feel 100-percent truthful, a kind of a square peg/round hole situation. Which is why the preproduction on a movie is so important, because you can't just push those through.

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 a discipline that has served me very well in my career and in my personal life... and that's gotten stronger as I've gotten older. I've always felt if I don't just have a natural knack for it, I will just out-discipline the competition if I have to -- work harder than anybody else.

My family is as far from a stage family as you could ever possibly find.

There's an old saying that you don't ever finish a movie, you abandon it, and I really believe that. I never walk away from a take and pat myself on the back.