We shot that in Morocco, and got out of the country at the beginning of July - and two months later came the attack on Twin Towers. The movie was then released in December, so that kind of atmosphere is not something that was unfamiliar to me.
I am attracted to characters who think they are in control, but their situation is uncontrollable.
I don't like working in a studio, at all. I just prefer to be on location, rather than hearing the bells of the studio going off. It's like being in Las Vegas, where no one knows the time and there are no windows.
I tend not to read the size of the production into a script when I'm reading it. It's just something you respond to or not and I do think it's very dangerous to say it's time now to do this or it's time now to do that.
I'm spending all my time and energy on the project at hand.
In America now every romantic comedy is interpreted politically. I can remember when I was promoting Black Hawk Down we were all being asked what it said about September 11th. Well, it was shot before that happened, so, nothing.
I race historic muscle cars back in Australia, and that's my hobby. And I try to race home as soon as I've finished a movie but don't tell anyone.
If I read something and I love it, I'll do it and I don't even ask what the budget is.
I would never say never to returning to comedy.
I've always been attracted to cars, and driving is a completely measurable experience: if you qualify last on the grid, you're the slowest, and if you qualify first on the grid, you're the fastest. So no one can say you're slow if you're fast and no one can say you're fast if you're slow.
When I go on the plane to fly home, I'm literally capable of forgetting what I do for a job. That also comes about because I choose to take massive breaks between projects, and because I choose to do this ridiculous thing of keeping home, home.
I never really think much about the size of a production because I think as an actor, once you're in it, it's all the same. I never ever pick projects based on their size.
If you're lucky enough to be involved in a film that's about something very real and that you hope will continue to hold up in 20 years' time it just gives you more energy and makes it feel all the more worthwhile.
I'm not into bikinis or other revealing clothing.
I've never been someone that's had a five-year plan, or a three-year plan. That just seems to lead to a lot of disappointment, and doesn't give you the chance to be flexible.
Throw your children in the surf and let them get used to it. They have to learn all about rips and tides and swimming between the flags and all that sort of stuff. I know that sounds ridiculous but it's true.
I've worked with some of the great cinematographers. So I'm always watching what they do and I'm watching how the director composes his shots, just because I find it interesting as an actor; you're trying to help them out as well.
The reason my kids come to the set is so I can actually see them.
The only thing that may make me different from other people is I have passionate interests outside of work.
Film sets are great fun. Film people are great people to hang around with. I don't want to run off and be distracted by other things.
When I shoot I'll take my family with me - one movie a year and then the rest of the time at home.
The most serious film can be the most fun. The one that's supposed to be fun can be the most serious.
The more I love the character, the harder it is to get it wrong. I have to get to a point that I can speak for them.
When you're shooting a film, you really don't get to be a dad, and you don't really get to be a husband. You don't really exist at all. But I do drag my family with me on location whenever I can.
Technically speaking, you can build anything out of sand; it doesn't mean you do it.
