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I'm a sucker for entertainment and escapism as much as the next person. I like silly and lowbrow stuff, but I get nervous when I indulge in that too often. I want to know what's going on in the world. I have a morbid fear of being surprised by bad news. I want to anticipate everything.

People have different relationships with power. I suppose a large portion of the 'Homeland' audience aligns with the U.S., sort of against the enemies. We certainly have the CIA viewpoint on the world - and it's their job.

Name your nation-state, or tribe or party - you have to rationalize what you're doing. You have to go to sleep at night. Does Dick Cheney sleep at night? Does he sleep like a baby?

When I was coming up with the Hal Hartley films, I was cast as a no one. I had no name visibility. I was working at a downtown post-performance-art, avant garde theater company and doing a couple things on television. But I was a total unknown.

Directing a film was something I always wanted to do, something that seemed an inevitability in my development as an actor.

I wanted to express myself more fully through writing and directing. It just feels like a package deal. Anytime you create anything, you try to exert mastery over your world.

'Collaborator' is a hostage tragicomedy, but it's also, kind of, everything I know about post-war America. Well, not everything, but it does reference a lot of the post-war period.

A lot of banging in the head has built up over the decades, and for my own sanity, I needed to write. I wanted to see if I could tell an honest, organic story about characters that interest me.

Working with actors really depends on the actor. Most of the directors I've worked with don't really know how to speak to actors, actually; some of the best directors don't.

I actually love 'West Side Story.' I think it's an amazing film to watch.

Can we ignore what is going on around us, can we disconnect ourselves, our own material situation, our spiritual selves, who we are, can we disconnect that from history and the social context of our lives? The older I get, the more I'm convinced that we cannot, that we are social creatures.

That's the very definition of freedom: to be allowed to develop our own creative potential to the fullest. But it doesn't have to be in the arts, obviously. In my case, I gravitated toward the arts.

My mother was Irish; she had this great sense of humor, and both my parents loved films. There was a very vibrant discourse about politics and everything that was going on in the world where I grew up. So I was genetically predisposed to go into the performing arts.

If you blink, you will miss me, but I am in 'Malcolm X.'

When you are raised Catholic, there is one thing that you are confronted with at a young age, and that's death. You're confronted with all the big issues - and that sparks deep questions, like what the hell are we doing here, anyway?

I'm always looking for something that tells me a little bit about what it means to be human. That's how I measure the success of any artistic endeavor.

I love watching Marty Scorsese's films, but they always make me feel terrible about being a man.

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