I know people who go back and check themselves, but it drives me crazy. Everybody wants to look in the mirror and see Cary Grant looking back at them, but that's just not the case.
You can change a person's life in an instant; put him in a movie, and you start thinking differently, you want to be in another movie. It's like an addiction almost.
I learned a long time ago: You're in the entertainment business. You're not in the reality business. One has absolutely nothing to do with the other.
Vince or Brad or Benicio would say, Maybe we should try this, and Guy was open to changes.
I have a home in Arizona. I go a couple months a year, but basically Chicago is my home.
This is my first experience working in a foreign movie, but the mechanics, I think, are pretty much the same all over; you still have to wait in the trailer.
I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.
I think all actors are supposed to be character actors.
Usually you're in movies with a lot of dissolves and things, but this was kind of quick, more jarring than usual. I thought it would be fun to be in a movie that's unconventional. Then I met Guy and I liked him. I think he's a good man.
The British have slang words, as we do, but it was fun.
I love England and the historical aspect of it.
I'd love to do a Western. A real Western like John Ford used to do. There's not too many of them made, so I don't know if I'll ever get to do that. They're awfully hard movies to make.
I wanted to do Buddy Faro as a small budget movie. They said no. So I wanted to do it as a series of recurring TV movies, and they said no. So I agreed to do it as a series.
When I was a kid going to the movies, we'd go because Bogart was in the movie, or Cagney, or John Wayne. We didn't know what the story was about or anything.
Do whatever you're directed to do, and leave the rest of that technical stuff up to the director.