I've had really great experiences working with first-time directors. They come at filmmaking with fresh ideas. I've been very lucky that way.

Sure, I get the blues. But what I try to do, is apply joy to the blues, you know? I don't know if it's a technique, or just being bent that way, being raised by the folks I was raised by.

I don't think I ever went down that movie star path. I always enjoy taking a 90-degree turn from the last thing I did.

Movies are like magic tricks.

The problem with the designated driver programme, it's not a desirable job. But if you ever get sucked into doing it, have fun with it. At then end of the night drop them off at the wrong house.

As far as the lack of hits goes, I think perhaps it's because I've played a lot of different roles and have not created a persona that the public can latch on to. I have played everything from psychopathic killers to romantic leading men, and in picking such diverse roles I have avoided typecasting.

I'm not counting any chickens.

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

As far as Beau is concerned, we're on the same team, we root for each other. If my parts are slightly more attractive, or are perceived that way by others, he's very content.

A large part of acting is just pretending. You get to work with these other great make-believers, all making believe as hard as they can.

What are the aspects of yourself that line up with the character? You magnify those, and the ones that don't match up you kind of kick to the curb.

This idea of how everything is interconnected, and the impermanence of things. It sums up the human condition to me, and it helps me on my path.

Working with my dad was such a gas. We approached the work in a similar way. We only made two films together when I was an adult, Tucker, and Blown Away, but it was so much fun to play with your parent like that.

Sticking with a marriage. That's true grit, man.

Making films is sort of like you're pulling off a magic trick. It's sort of like an illusion. It's not real but you want it to appear real, and all kinds of things go into that, from the clothes you're wearing to the make-up, to the light.

For me, growing up, the downside of it was that as a kid you don't want to stand out. You don't want to have a famous father let alone get a job because of your famous father, you know? But I'm a product of nepotism. That's how I got my foot in the door, through my dad.

What I learned most from my father wasn't anything he said; it was just the way he behaved. He loved his work so much that, whenever he came on set, he brought that with him, and other people rose to it.

I had years of partying, and I was kind of surprised and happy I survived it all. Now, being a parent, I look back on it thinking, Oh God, the things you did!

I've had really great experiences working with first-time directors. They come at filmmaking with fresh ideas. I've been very lucky that way.

I had a great '70s. I survived it, and that's always good news.

Nowadays, in the contract that actors sign, you have to agree that you're going to do a certain amount of publicity-the hard part they don't pay you for.

My m.o. as far as choosing projects is I really try not to work. I try to not do the scripts that are offered me. I'm in this wonderful position to be able to do that. The reason I do that is because I know what it takes once I engage, what that means for me personally and for my wife.

Most cynics are really crushed romantics: they've been hurt, they're sensitive, and their cynicism is a shell that's protecting this tiny, dear part in them that's still alive.

I love John Irving's stuff. It's that marriage of comedy and tragedy. It's really terrific.

One of the things I want to do that's outside the realm of acting and the arts - although both have their place in this - is ending childhood hunger here in America.

A fella who accepts himself and is relaxed into who he is - that appeals to people.

About 25 years ago, my wife and I bought Kenny Loggins' house in Santa Barbara. It was way out of our price range, but we said, 'Screw it, let's go for it.' We've raised our family there. We overextended ourselves at the perfect time in our lives, and it worked out for the best.

Any role that big is going to be a challenge for any actor, but for an actor of a young age, it's going to be even tougher.

As an actor, a role can be a great excuse not to be in shape. I mean, you wouldn't want to see the Dude with a six-pack, so you eat that Haagen-Dazs. My weight goes up and down.

As far as 3-D goes, I don't know if that will stay very long because things are moving so rapidly.

As filmmakers, we're constantly always looking for something to bring the audience deeper into the reality of the story we're telling.

Ballet might be too formal of a title for the type of dance I do, but I love to dance. I love to draw and paint; I do ceramics and photography. I'm interested in a lot of creative stuff.

Basically, one of the hardest things about being an actor is getting your first break. I'm a product of nepotism. The doors were open to me. I'd done several movies before I decided what I wanted to do.

Directing takes a lot of time.

Do I have a long-term plan? Kind of. I have a general direction, I think. But it's funny what comes down the pike.

Do we really need to arm our citizens with machine guns or semiautomatic weapons? And don't we need to make sure that people who do own guns are qualified to own them?

Eating ice cream and not exercising is great. The downside is your health isn't so good.

Every time I walk down one of those red carpets, you think I'd be used to it after all these years, but it's like it's happening for the first time.

Execution is everything.

Fame really works against actors, in a way, because our anonymity is a wonderful thing for us.

For me and my wife, it was love at first sight.

Generally speaking I would say I enjoy the smaller films more because there's a less sense of pressure and often the material is more unusual.

I am a product of nepotism. I don't think I would have had the profession that I'm in currently... if it wasn't for my dad.

I can see how a relationship with a writer would be an easy thing.

I come from a family of teasers myself. My grandfather was from Liverpool, and he had a dry sense of humor, and he would tease us terribly. My brother Beau was so skilled in his teasing that he could get a rise out of me by simply pointing at me.

I consider myself a lazy guy, but I do a bunch of stuff, and I'm so busy that in my downtime, I like to be with my wife, who I'm just madly in love with.

I consider myself pretty lazy, but I look back and check out the stuff I've done, and I say, 'God, that's a lot of stuff for a lazy guy.' It's a paradox, I suppose, being both things.

I do a lot of ceramics.

I do my best to hold the director's opinion above my own.