I've read a lot of war writing, even World War I writing, the British war poetry of Wilfred Owen and Siegfried Sassoon, Robert Graves's memoir 'Goodbye to All That,' and a civilian memoir, 'Testament of Youth,' by Vera Brittain.

I have my sympathies and also my critical views, and they aren't much of a secret, but my first job is to see and hear and think about what I've seen and heard.

Everyone finds justification for his or her views in logic and analysis, but a personal philosophy often emerges from some archaic part of the mind, an early idea of how the world should be.

Even while writing about foreign places, I have been in a way writing about America, because that's the subject that interests me the most. I'm attached to it, critical, but it's definitely my country, and maybe even more so when I'm overseas.

Indies are always an extra challenge. The time is shorter because you have less money to spend and fewer days to shoot.

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've spent a lot of time and money trying to keep my anger in control.

On the intimate level, anyone who has loved a companion animal knows the uniquely wonderful experience these 'other nations' provide, and their important presence in our shared lives. In their very local way they show us the global truth of our real wealth, our biodiversity.