I'm often confused with other actors. But the people who know my work don't have that problem.
Rural towns aren't always idyllic. It's easy to feel trapped and be aware of social hypocrisy.
I've always been a fan of George C. Scott, who was working in movies when I was in college... films like 'Patton' and 'Hospital.' I was really impressed by him, and I had seen him onstage as well in 'Uncle Vanya.' He was a champ to me.
Globalisation is happening so fast it's confusing for people, and tolerance is threatened.
I co-own the ranch with my brother, and he and his wife are really the backbone of the operation.
I have a pretty good grip on who I am.
Commercial movies have to end with moral flags flown again and all that.
I enjoy that with theater, you can just go into a room with a paper bag lunch: there're no cables, no electricity. It's the purest experience.
I did 'Malice,' 'Sommersby,' and 'Sleepless in Seattle,' and they're as disparate characters as I've ever played. But somehow, there was that thing - they were all second male leads, so they all didn't get the girl in some weird way.
I'm not a gardener. I don't have the consistency for gardening, and I have barely enough for an orchard. I don't embarrass myself. You have to be there tending and weeding. With orchards, you can go through negligent periods and recover.
I've always liked authors such as Philip K. Dick and Ray Bradbury.
Well, I can do certain jobs because smells don't bother me. But that means I'm usually the one at the ranch cleaning up all the manure.
There's a point you get to on the stage where you're not remembering lines but living them, and you reach this pure moment which, really, is more intense than what you can achieve in life.
It's funny: When I first heard they were thinking of me for the president in 'Independence Day,' I just assumed it was a comedy - I didn't exactly think of myself as leader-of-the-free-world material.
I do take lots of time off between projects, but when the right thing comes along, I don't like to turn it down, I've been doing this for a decade, and I remember what it was like when I started. You spend maybe five percent of your time actually doing it, and the rest of the time, you're trying to get that five percent.
You're always carrying something that's interfering. It's like static noise that doesn't have to be there, and you have to school yourself to clean that out.
That's how we invaded Iraq, through the fear of an 'evil empire,' and it just makes people feel like bulls with the toreadors - you see red, and you charge.
It's astounding how challenging plays are... The scary part is that you get to encounter humanity in a way you don't in films. The audience amplifies the experience.
'Zabriskie Point' was a time when I was in a lot of change and flux, and these incredible visuals hit me like they had rearranged the organs in my body. The ending and the free-floating debris and everything is an image that burned itself in my consciousness.
I'm not the first one to say it, but that time onstage is a heightened sense of present tense.
