I like playing flawed characters, people who aren't perfect.
This is all new to me, these re-releases. I don't know how these things do. I don't know if it will be people who saw it originally or young people.
To people outside, they think, Gee, that's great. You get to go here and there. The other side of that is our expression, This is location, not vacation.
While I was doing these plays in the beginning, I wasn't getting paid. I thought of it more as a hobby. Then I realized how seriously a lot of these people took what they were doing.
Around mid-life everyone goes maniac a little bit.
Even my agents say, We don't know what this business is anymore.
These days, you can do a TV series for five years and all of a sudden be on top of the business. Features don't even run in theaters very long anymore before going right to television.
I came in on the tail end of the old school of Hollywood.
You can't think that you're playing a villain, or you'll end up with a cartoon. You have to think about him as a person and a hero.
I had already done a lot of research for Rough Riders, keeping notebooks and old photographs. Some of the books were antiques for that time period, with the covers falling off.
I have family obligations and all that stuff. I get my kids six weeks in the summer, which is a real intense period of time. I'm with them every minute of the day.
I'm probably satisfied with my career 80 percent of the time.
Sometimes I think I'm real predictable to myself and other times... you always wonder, Is this really what I wanted to do? Did I make a mistake? Should I be doing something else?
Most of what gets made now, you laugh your way through, go home and forget you've seen it.
I was so exhausted after fighting for the project for five years, shooting it was like the Bataan Death March.