One thing I carried my whole life, especially from my grandparents in Chicago, was a huge idealism for the world.
When I first started playing the banjo and miraculously fell into a record deal in Nashville, TN, there was a period when I didn't go to China. It hurt. Like a pain in my gut... that pain you feel when you know it's time to connect with your parents or your God or your child or your past or your future... and you don't do it.
My childhood was great, honestly. I have all these incredible memories of my childhood. I was an only child. I always had all my cousins around. I had my grandparents around. I had my parents around. I had my uncles around - whatever.
The Madonna tour thing was definitely funny that - you know, children were crying watching us... and it was interesting seeing how angry their parents were.
My parents were Zionists born in Poland. My father was a rabbi who didn't know much about science and ran a grocery store in the neighborhood with my mother's help.
Acting has made me embrace my childhood. It's become some weird form of therapy. It's like I have a place where I can release all of these emotions. When I was playing Ira Hayes, I didn't have to think about the death of my parents directly. It's just there. I can blend it into Ira's character. I can use Ira's emotions as an outlet.
With 'Smoke Signals,' the character was so much like me growing up. I lost my parents, and I wish I'd had an opportunity to find out where they were. So I was reflecting on how I grew up, that feeling of abandonment. That whole film was a reality that I always held back and kept to myself.
Once you lose your parents, you get this numbness, this feeling of having to really be able to connect yourself with someone. I depended on my brothers for that connection, but to have that feeling of being taken care of... I lost it when my parents passed away.