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Quotes
 But
when I go really far back in time, to the days when everyone was dying
of cholera and syphilis and bubonic plague, I want nothing to do with
those periods. I mean, nobody showered. That's why perfume became such a
popular item.
I
grew up with the white picket fence. My dad went to work nine to five,
and he had a station wagon.
I
only hear my own voice. When you start hearing other voices, then it's
time to worry.
It
was being young and sensitive and an actor. There was a lot of pressure,
everything was a hurdle.
The
worst thing I could be accused of is that I'm a one-way dude, only out
for myself. But the worst thing a woman can do is not to say anything.
Especially when you're starting a relationship.
When
I was twenty-two it was a lot harder to get hurt by women. It was easier
for me to, you know, cheat on a girlfriend. I can't lie like that
anymore.
There
were certain perceptions that people had of me, you know...'He's dumb,'
or 'he's just got a pretty face,' or 'he's a thug,' or 'he can only do
one thing.' I'm not so concerned with that now. Longevity's what it's
about.
New
York is a vibrant city. There is so much to do here. It's so diverse.
But in L.A., the whole town seems to revolve around the industry. That's
a good thing when you need to go for work and stuff like that, and I
have a lot of friends out there -- a lot of longtime friends -- but I
don't want to live there.
I
just don't like it. In L.A. you can spend days without seeing another
person. You see other people in your car, but without really making
contact with them. I mean you really exist that way!
A
lot of people say I've missed out on a lot because I started acting at
such a young age. What's so obvious to me is that I actually was really
lucky. I gained a lot and I got a head start in what I wanted to do in
life.A lot of people in their late 20s, early 30s are just beginning to
figure out where they want to go.
If
there's something to work with that's good and if there's a conflict of
the characters, that makes it more juicy, something colorful. A good
script and director, of course, are the most important things.
Sometimes
I feel like I've done really good work, but it doesn't matter if the
film doesn't work. The kind of films where I think the film worked, like
The Flamingo Kid or Drugstore Cowboy or even Rumble Fish or The Saint of
Fort Washington -- they didn't do that well at the box office.
To
be honest with you, there's nothing that bores me more than sitting
around with a bunch of actors talking shop. I love actors and I've got
friends that are actors. They're interesting people. But for some
reason, usually when it comes round to talking shop, there's a part of
me that doesn't like it.
You
can't get a place more conflicted than Cambodia. You come up with ideas
as you go. Film ideas come into your head. Sometimes you write them
down. Sometimes they just pass you by. This one goes back to `93 when I
went to Phnom Penh.
It
was an extended vacation and I knew very little of Cambodia. What I knew
of it was The Killing Fields. What really opened my eyes and surprised
me was how beautiful the country was. Phnom Penh was this partially
destroyed city but a lot of it had been preserved. The royal palace is
there and all the pagodas along the Mekong River.
It
was a real contrast from say, Bangkok. There was also this palpable
sense of danger. There were a number of ex-pats I met too and these
people were as interesting as the places. Guys that had opened bars and
felt like they couldn't go back.
About
a year later I read an article in the Tribune that Cambodia was being
used as a fugitive haven. It sort of presented itself to me as an
opportunity to do something really interesting.
I
think more in terms of the work. I don't think about being a celebrity.
I don't preoccupy myself too much with being famous. I don't try to hold
on to some kind of image.
I
remember sometimes thinking people thought of me this way or that. But I
did not want to be considered a star. I always just wanted to be
considered an actor. That is what I do and that is what I pride myself
on--my work. That is what counts.
Some
jobs, while you are making them, you find yourself living the part. You
dream about them. You wake up thinking about it. That is a good sign.
That was Drugstore Cowboy. It was cool. It was fun to make. It was a
small crew. The actors were great. It worked.
It
was one of those things where if it worked, it would be one of those
things that was different and unique. And it turned out that way. Gus
Van Sant was great. He thought more like an artist than just a
straight-headed filmmaker. It is great to work with someone like that.
I
do a movie and I hope everybody gets to see it. I'm not somebody who
only makes cult movies. Sometimes they become cult movies and that's
fine, but that's not why I make movies. I would love to do a really good
audience picture, but sometimes it just doesn't get offered to you and
that's just the way the ball bounces. I want to do big movies. I like
big escapist films, certain action films, like The Fugitive.
There's
a lot more that I am capable of doing than I have done. There's a lot
more that I have to offer people. Some people would be surprised. If you
really look at my body of work, it's not nearly as typecast as one might
think. I have done a lot of roles and not just played brooding, angry
young men.
There
is something about Cuba. There's no doubt. There's something romantic
about the place, even now with everything going on. Just look at the
music, among other things. Some of the greatest music ever came out of
Cuba in the '50s, '40s and '30s.
I
won an Indie Spirit Award a few years ago for 'Drugstore Cowboy,' but
you never think about awards when you're doing a movie.
Comedy
is the hardest thing for me.
I
don't worry about whether a character is likable, as long as the
character is believable.
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