I don't get rattled about the big things. I get rattled when I have to pick up my laundry, get gas in the car, pick up a script.
Rebellion is what you make of it. When you've been on a tour bus for two months straight, and then you get in your car and drive wherever you want, that can feel rebellious.
We invented the car, and it made it easier for us to crash and die. If I gave a car to my grandfather, he would die in five minutes, while I have grown up slowly to accept speed.
On the day of the audition for 'Sullivan and Son,' I had three other auditions all around Los Angeles. It was so hectic. I remember changing in my car before I went in to read.
I've never been big on cars. When I first got to Hollywood, I bought a used car from Avis. I drove that until I almost had to pay someone to tow it away.
I hate when someone drives my car and resets all the radio presets. I don't understand it. If I was ever driving someone's car, I would never touch the things that were set.
The last Christmas movie I really liked was 'It's a Wonderful Life,' probably. It's sort of a schmaltzy movie, but it's not without its dark moments. It still gets to me every year.
My dad was a keen actor when he was young; my auntie is heavily involved in amateur dramatics back in Northern Ireland, and my great aunt was a woman called Greer Garson.
My dad was a great movie companion. He wouldn't diminish 'The Jerk.' If I liked it, he liked it. He could see it through my eyes.
I remember once giving my dad some drawings and writings and said, 'If you could just give these to the publisher, that would be great.' And I was about five!
Perhaps we don't need these religious concoctions to pillow the fear of death. Just the fact that there is an unknown, and something greater, can bring a feeling of peace. That's enough for me.
These movies are like my kids. I just love them to death. Some of them go to Harvard and some of them can barely graduate high school.
Even when you're making a movie about life, death is a presence, and I guess it's part of my dramatic viewpoint. I'm not sure why exactly. Maybe I'm drawn to it as a story element.
Sondheim is my god; I love the man. I learned a great deal about writing from his work, his lyrics, and his structure.
No one bothered reading the books and understanding - and again, I'm not being high-falutin' about it - but I think our books are great literature with great metaphors of real life dealing with fears and hopes.
The great thing is that I'm getting my revenge on everybody who treated me badly in high school. The bad thing is I had to go back to high school to do it.
But here's the thing: I had this great job, and I would still feel terribly depressed. I would just be like, 'This isn't the sweet spot. I thought this would be it, and I don't feel happy.'
At Juilliard, suddenly I was reading these great plays that could articulate the ways I was feeling in the Marine Corps, and that felt very therapeutic, by putting words to feelings, in a big way.
I did babysit a little bit when I was young. I prefer babysitting for babies. I always loved babies. I was not as great with kids that wanted to be entertained and that wanted to talk.
I wouldn't use the word 'scared' for my role as Hitchcock, but it was my most insecure. Taking on such a formidable, giant personality such as Hitchcock; he was one of the great geniuses of world cinema. Sheer genius.
I can't understand the conditions of a corporate product being designed and getting millions. I admire it, it's great, but I don't know how to do that. I have to have the wheel.
