People can learn the tragedy of war from me.

People asked me during the Iraq war if I was afraid to speak out. I said no.

And what always struck me about that war period was how even Churchill had to talk socialism to keep up people's morale.

I grew up in a neighborhood in Baltimore that was like a war zone, so I never learned to trust that there were people who could help me.

I go to the airport and I've had everything taken away from me because of the terrorists. People haven't realized yet, though, that we are at war.

When I was doing 'Executive Orders,' I talked about Ebola to people who know about infectious diseases and their use as weapons of war, and guys told me that these weapons are more psychological than physical.

The tactic of leading people into... a war that doesn't make any sense by telling them they are under attack, and if they raise any objection they're unpatriotic, is a very old tactic. And it doesn't intimidate me.

Playing a prisoner of war trapped in Pakistan for three years was a novelty for me. We made sure that we didn't talk about India versus Pakistan but about the emotions of people on both sides and how terrorism affects us all.

Sometimes people ask me why I began perestroika. Were the causes basically domestic or foreign? The domestic reasons were undoubtedly the main ones, but the danger of nuclear war was so serious that it was a no less significant factor.

For people like me, who have got their flags and wars mixed up, I think it should be pointed out that there may have been only one War of 1812, but there are four distinct versions of it - the American, the British, the Canadian, and the Native American.

The thing that really gets to me is that countries are in the news only when things get out of hand. That's when it's newsworthy. When the war ends, it's not newsworthy anymore; no one wants to think about it. Actually, the aftermath is the most important part. It's when people have to rebuild.

People ask me about 'The Hurt Locker' a lot, and it's an incredible piece of filmmaking - as are 'Band of Brothers' and 'Platoon' and 'Full Metal Jacket' and 'Apocalypse Now.' But they're not necessarily true to war in a literal sense. What they are, really, are brilliant movies about Hollywood's idea of war.

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