Especially for me, growing up in such a small town in the middle of nowhere, the desire to be away was incredible. I wanted to see new lands, meet new people from the city, and meet people that were in much less fortunate situations than I was, so that I could be more appreciative of my present. At least I had food on the table.
I've always romanticized the late '40s and '50s - the cars, jazz, the open roads and lack of pollution. Now there are more vehicles, less hitchhikers, more billboards and power lines and stuff. People wrote wonderful long letters that took months to receive, and now everything is email.
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It was close to like a 67- or 70-day shoot for 'Tron' on stage, in the suit. You can't even sit down during the day because of all the cables that divide the foam rubber and all the electrical circuits. We had these stools that were tall with a bicycle seat on them and you're just looking at a blue screen all day.
See, the 'On the Road' that came out in 1957 was censored. A lot of the honesty of it, the bitter honesty, is in the original scroll version that came out in 2007 on the 50-year anniversary. Back then, there was so much post-Second World War fear that was imposed on everybody - 'You must live life this way' - and these guys were bored.
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I've always had a longstanding dream, ever since I was a kid, where I was running on a big lake of ice and I kept running and kept running, just about to where I was trying to get to, and I fell through the ice, and then I couldn't find the hole where I fell through to get back out again.
I fantasised about F. Scott Fitzgerald's 'The Great Gatsby' - I loved it, and then I read everything J. D. Salinger had to offer. Then I was turned on to Kerouac, and his spontaneous prose, his stream of consciousness way of writing. I admired him so much, and I romanticised so much about the '40s and '50s.
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In the present time you don't really establish what you're going through, but after time it's declared something. Right now there could be some writers doing something expressing their thoughts in a whole different style that we're not aware of. This could be the 'in-between the notes generation.
I used to be sick of the backroads of Minnesota. I had to drive 30 miles to get home every day, take the schoolbus for two hours. But to drive through America and see the backroads, from Nashville to Memphis, Lovick to New Mexico, was incredible. It was probably the greatest trip of my life.
For me, and this may not be everybody, but because I do love country music so much, there's such a feeling of home in Nashville, especially because it's such a small town. You bring up one song, everybody knows who wrote it, everybody knows their mother and what their cell number is, and all of the stories.
'Love Don't Let Me Down,' which is the original title of 'Country Strong,' was just as difficult emotionally as 'Tron' was physically. I play a country singer that basically gets on tour with Gwyneth Paltrow's character, who is one of the biggest country stars out there, and she's fallen down too many times and it's an intense emotional story.
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I grew up on a farm in a small town where you do or say one thing and everybody knows about it. You see it happen, there's always the town gossip - 'Oh did you hear about so and so, or did you hear what went on in this household?' So I learned at a very young age just to keep my mouth shut.
The school I went to was a little farm school in Wannaska, student body 61 or something. There was a kid, the only black kid in our county, Dustin Byfuglien. He won the Stanley Cup a couple years back with the Blackhawks. Out of a class of 21 kids, he and I always had to be on opposite teams on everything because we were the most athletic.
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