So, to get to play somebody who was insisting on it, in spite of all the evidence was very liberating and exciting. It went quite deep. I suppose I reference a kindness and humility that I would have seen in my parents' generation, a little bit more than now.
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I started hitching about the country when I was 16 or 17 years old. I found the music that was played around the country - Irish music - had a particular resonance.
My grandfather played a mandolin, so I got my hands on that. Then on down to a banjo, and I found I couldn't play any kind of soft or mournful music with that so I took up the fiddle in my late 20s or early 30s - and that was far too late. But it keeps me off the streets. It has been a love of mine since I was 17 maybe.
I worked with Steven Spielberg on 'AI,' and his level of preparation was extraordinary. He told me there was a time at the beginning when he was a bit more spontaneous and went over budget, and it absolutely wrecked his head. When you look at the power and assuredness of his movies, it makes sense that he works out so much in advance.
I'm aware now over the last 5 or 10 years that when you do an accent, you really have to kind of get down to the nitty gritty and go into the phonetics of it, if necessary. Find out not just the sounds but the rhythms and the music - or lack thereof - in a particular accent.
It's interesting going between small parts and then bigger roles where you carry the film. If the writing is good, and if the people involved have integrity, then you'll do it, even if it's only five minutes on screen.
I don't want people poking around in my private stuff. They've no business in it. My work is what I give to people, that's my job, and that's where it stops.
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