I've read a lot of war writing, even World War I writing, the British war poetry of Wilfred Owen and Siegfried Sassoon, Robert Graves's memoir 'Goodbye to All That,' and a civilian memoir, 'Testament of Youth,' by Vera Brittain.

I have my sympathies and also my critical views, and they aren't much of a secret, but my first job is to see and hear and think about what I've seen and heard.

Everyone finds justification for his or her views in logic and analysis, but a personal philosophy often emerges from some archaic part of the mind, an early idea of how the world should be.

Even while writing about foreign places, I have been in a way writing about America, because that's the subject that interests me the most. I'm attached to it, critical, but it's definitely my country, and maybe even more so when I'm overseas.

As an actor, acting is like playing a sport. You do this thing that's intangible, and while it's happening, it's great. But then when it's done, there's really no tangible product. Someone else is capturing it and turning it into something tangible.

I had a client who was a professional baseball player once, and he would go to clubs and dance for seven, eight, nine hours at a time. He wouldn't drink, he wouldn't take drugs - he just danced because he had so much physical energy; he was this amazing athlete.

I was a big sports fan, and I had been closely monitoring Hank Aaron's home run totals since I was a kid playing on the sandlot adjacent to the Foundry and Machine Company in Batavia, Illinois.

Also, I'd like to play an athlete again, while I'm still physically fit, or a musician, like Nat King Cole, because I play the trumpet and sing. I'd like to incorporate that into a character.