I actually signed on to do 'On the Road' before we started on 'Tron,' but we were in flux for a while, just sort of playing the waiting game, trying to get the right budget and the right cast.
I had to jump on the tractor and do my chores. I would have just killed to be in town, to be able to Rollerblade hand-in-hand with somebody I had a crush on. I just wanted to get off the farm, to find my outlet.
I was into punk rock back when I was in high school. I used to go around to dive venues and take photographs. But now it’s been just much more about the country stuff and soulful folk.
It was close to like a 67- or 70-day shoot for 'Tron' on stage, in the suit. You can't even sit down during the day because of all the cables that divide the foam rubber and all the electrical circuits. We had these stools that were tall with a bicycle seat on them and you're just looking at a blue screen all day.
There's big studio films I didn't want to do. I didn't want to go through the hoops and ladders. I wouldn't have been able to work with the directors I've worked with if I did those studio films.
I grew up on a farm in a small town where you do or say one thing and everybody knows about it. You see it happen, there's always the town gossip - 'Oh did you hear about so and so, or did you hear what went on in this household?' So I learned at a very young age just to keep my mouth shut.
I had never heard much about Nashville before coming out here, and that's why it's so surprising, because I'm the biggest enthusiast on the city of Nashville now. I'm looking for a place out here to live.
When my senior prom was happening, I was in Malta filming 'Troy.
See, the 'On the Road' that came out in 1957 was censored. A lot of the honesty of it, the bitter honesty, is in the original scroll version that came out in 2007 on the 50-year anniversary. Back then, there was so much post-Second World War fear that was imposed on everybody - 'You must live life this way' - and these guys were bored.
A great amount of good is always evened out by a great amount of bad. I find it's best to acknowledge that weird balance.
It’s funny, though, speaking of fathers and sons, because me and John Goodman played father and son, like, five or six years ago in the film Death Sentence [2007], and I got back with him again in Inside Llewyn Davis.
I'd hang out at the Borders bookstore until it closed.
When you come across someone colorful and vibrant maybe in the present it isn't so interesting, but, in the past, it sheds a wonderful light onto living life.
I spill it out as fast as I can. I don’t really edit. In Brazil, recently, I wrote 70 pages. In London, 80 pages.
Life's too short when you find yourself sitting in a car for four hours every day trying to get from East L.A. to West L.A. to Hollywood and then back to East L.A.
I've been told I'm too good looking for certain roles, but that's okay, it just motivates me to go deeper.
