When you see Hitler burning paintings by Salvador Dali and Picasso he's telling you that this time period and these men and this culture didn't exist, and I've seen that happen in other countries, Sudan for instance, it's not enough to kill them you have to destroy all of their markings that they left that was their history.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
I grew up at a time where I think most people had a social and political conscience. Some of the biggest changes in our country's political history happened at the time I was growing up, so I was raised to be a part of those things and to participate and I will continue to do that as much as I can.
It is a question in that case of breaking up one piece of art, and whether that piece of art can be as best as possible put back together. So it's an argument to say, maybe that's one of those instances, like the bust of Nefertiti, I think that should be given back [Egyptian piece currently in Neues Museum in Berlin]. It's one of those pieces you look at and think that would probably be the right thing to do.
I'm the son of a newsman, I grew up around news, so I can understand the issue, which is that papers are losing subscribers and they're getting less and less outlets... it's a tricky thing. You're going to have to sell papers. The problem is, there's so little reporting anymore.
In 2003 I was saying, where are the ties [between Iraq] and al-Qaida? Where are the ties to 9/11? I knew it; where the f**k were these Democrats who said, 'We were misled'? That's the kind of thing that drives me crazy: 'We were misled.' F**k you, you weren't misled. You were afraid of being called unpatriotic.
What I try to do is make sure that the directors I'm working with are on the same page and want to do the same kind of films. You can really protect yourself as an actor if you work with really good people. It can hide a lot of flaws along the way.
I bought a painting in Madrid on my first trip there too and a lot of people say, 'Well it's not the greatest painting' and I say, 'It is to me.' OK, you can look at a beautiful painting and say, 'That's beautiful' but to me, it feels warmer to fill my home with pictures of friends and family and paintings of places I've gone. That's what I want to come home to.
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