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He was so good with the kids on the set. He just knew exactly how to handle them. The baby would cry and Vin would hold him and do all these weird sounds and the baby would stop crying. It was really cute.

Also, I knew that the impact of Motorcycle Diaries was going to be so resonant for all of us who went through the experience of making it that I didn't want to do anything that could reflect it.

It wasn't about mechanics; it was about a feeling, wanting to give someone something, which in turn was really gratifying. That really resonated for me.

I phoned Joe Roth, who was head of the studio at the time, and told him how beautiful the film was, and that I was fully ready to support it, that Michael's work was wonderful and I imagined that Daniel would feel the same. He listened quietly and read between the lines.

It was really really neat to make the movie because there were mentally challenged actors in the movie. So that was really really cool to work with them and they were always really happy, and they made everybody really happy on the set too.

I did a fantastic emotional film, 'Autograph.' But the audiences rejected me in it. They like to see me laughing and fighting.

It was exactly what was released two months later with the exception of a couple of reaction shots which we went back in to get. I liked the movie very much and asked him what the studio's problem was. I felt that he was at a point where they might have worn him down.

I was enamored with him. And I was excited. And I was enjoying it.