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The way I navigate scenes is through what I perceive to be the emotional truth of the character: what he wants from moment to moment.

I think that each character has fascinated and interested me enough to want to play him.

I think a setting is hugely important. I look at setting as a character with its own look, sound, history, quirks, goofy temperaments and moods.

It's not that I'm necessarily looking for things that are so dark and emotional. But if I see something where the character goes through enormous change, it's very appealing to play all those levels, and that is probably going to involve some dark moments.

To me, the psychology behind the character is critical. So I work very hard to get into the mind of the man that I'm going to be playing, because number one, I want to understand why he's doing what he's doing. It's essential, it's absolutely essential.

I would say that playing this character has caused me to think about a lot of things. He's always questioning himself and trying to get back to something he lost touch with and trying to find forgiveness. Everybody struggles with these things to some extent in their life.

There's only so much you can do until you get on set and see the aesthetics of what you're dealing with. Then you see what the other players are giving to you. It's all about the transfer of energy between different actors.

As an actor, secrets and obstacles fuel the character.

Maybe if they all could he combined - art, rock and fashion. Those were always my favorite things.

Each picture has some sort of rhythm which only the director can give it. He has to be like the captain of a ship.