Everyone always asks me, 'Do you want to be famous... ' I never really thought about becoming famous. I just want to work, to be able to put out inspiring and good film and TV.
I was offered a choice of a flat salary up front or a percentage of the film's future earnings. I took the up front money. Nobody could have figured what Halloween would ultimately become.
I'm working on a film called 'Bonnie.' Bonnie means water. It's in English, and it's dealing with a future world in a megacity - which is what the U.N. says we're going to be - but in this megacity, a city that runs out of water.
I think the kick to doing comedy is just to get in a film with really funny people and let them do their jobs. I find that in most comedies, I'm not the funny one, which works out great.
It's funny, like 15 years ago when I was a kid doing all the John Hughes movies, I remember Bruce Willis was the only guy who was transitioning from television into film.
I mean I've seen 3D films so far and I think it's a long way to go before they replace actors. It's a funny thing with 3D, I haven't quite got it yet. Yet.
I think that the episodes are like mini horror films really; the characters make bad decisions early on and these things just snowball for them and get worse and worse. And that's what I find funny.
I took 'P.S. I Love You' thinking it was going to be a little funny, and I ended up crying every day on that film.
It's funny: I've been very successful and done a lot of films, and I don't really have an agent - I don't really pursue jobs, I let people come to me.
A lot of America is kind of done. People have been making films about it for 100 years. Everything to me feels used up. But Jo-Burg feels unbelievably inspirational to me.
Making a film of a work you've played for six weeks gives you intimate knowledge of the character. By the time you go in front of the camera you've worked out the behavior and life of a character.
If I could live my life all over I'd do everything the same; the film in my camera would remain the same; there's no way lord, to leave this love behind.
I've always been excited by rotoscoping, the technique used in films like 'Waking Life,' which fuses animation with real-life emotion. It seemed like it was a process ripe for innovation.
I film normal-life subjects in natural settings that some people would consider uncinematic. But what I want to show is nature itself, as the truth of life.
I'd never really been in a series, where you see a man at different points and perspectives in his life. Usually it's a film, where I'm playing a character who just comes in and offers something up.
I like stories that have a social impact and social attributes to them. That's the whole reason we make films: to broaden our limited view of things and to see how life is evolving elsewhere.
When you're playing a real person, there's a balance between playing the person in the script and playing the person as he was in life. You have to be respectful and true to who that person was, but at the same time tell the story in the film.
'The Godfather' changed my life, for better or worse. It definitely made me have an older man's film career when I was 29.
Every time I see a film about Joan of Arc I'm convinced she'll get away with it. It's the only way to get through life.
I have never been afraid to go a bit out there with what I am wearing on film. I tend to be a bit more conservative in real life, with mountains of black in my closet.
I love the theater, but if I had to choose, I would choose a film at this time in my life. Something meaty, to sink my teeth into.
