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Altman works in such an interesting way, letting things occur in the film even if he didn't particularly plan them.

So I moved to Europe and only came back when directors like Robert Altman would call me after they'd seen my work in Full Metal Jacket.

I was heartbroken at the end of that, because I thought that was going to be it for me. Somehow I had worked my way into this movie and it had exposed me to people and I had a chance to be an actor, which I loved, but I didn't think it was ever going to happen again.

I've worked with Robert Altman a couple of times too.

I remember years ago I was an extra, just an extra, and instead of asking me to move - he was a big fella - the director just picked me up and moved me. And I headbutted him. You know, he shouldn't have done that, but I shouldn't have done that either. I just done it.

I was sitting in the looping studio late one night, and I had this epiphany that they weren't paying me for my acting, for God's sake, but to own me. And from then on, it became clear and an awful lot easier to deal with.

Bob Altman had this relaxed but serious attitude. Everybody loved him. I wanted him to adopt me.

I'm a huge Robert Altman fan and don't take issue with his filmmaking, as eccentric as it is. But I just think 'Nashville' was a world he didn't know.

I met a hustler at a dinner party. He had been invited because I was looking for an adviser to help me with the street scenes. So we put him on the film.