The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
You have 22 episodes to start from zero to hero; you can really take a nice, big, long arc. In a film, it's tough to do that - you only have 90 minutes.
A lot of times, as an actor, especially a TV or film actor, you don't get a lot of interaction, or you don't get the feeling you are actually touching someone, or someone actually cares about what you do.
I studied acting at Boston University. I was in the theater department there. Somewhere in there I decided that wasn't what I was going to do and I went to the B.F.A. film program at N.Y.U.
When I was filming 'The Haunting Hour', my co-stars Emily Osment, Brittany Curran and I paid a visit to a haunted house - all dressed up as vampires! We really confused the workers.
I'm sort of one of those weird actors who whenever I do a play, I think, 'Oh, we should film this,' as opposed to have to belt it out of ourselves in a theater auditorium.
If you are making a script based on a book it can be frustrating going back to the source novel, because you're turning the story into a totally different thing; the narrative of film is different from that of a book.
Film is just a different version of what we did round the campfire when we were Neanderthals. We tell stories so people can learn things and relativise things.
The nightmare of a film career, or at least the challenge of one, is that you're rarely going to get the opportunity to explore character because once people see you in one thing, you know, they want to see that again.
I guess because I pay so much attention to the physical part of the character, I don't look upon it as like Charlize Theron up there. I don't think of them as like Charlize Theron films.
Multiplicity was a movie that tested really well. People seeing the movie really liked it, but then the studio couldn't market it. We opened on a weekend with nine other films.
The adrenaline feeling of jumping out of cliffs and bikes and all of that is very specific to the film. In 'Pac Rim' I'm not doing that so much. There isn't that touch stonework for me in it, but there is a lot of action.
For me, making films is like being on vacation, it's a nice walk. But theatre is like mountaineering. You never know whether you're going to fall off or make it to the top.
After 'The Empire Strikes Back,' I got to make big films that I didn't care about, 'Never Say Never Again' and 'RoboCop 2,' and then I got too old.
If you got the DVD you can see that George Lucas has taken that person out, as well as the voice, and we shot this scene when we arrived in Australia during the actual filming of Episode 3.
A few words of Hindi appear here or there, but it's all Urdu. I feel that if the popular culture, which is what Hindi films are, uses Urdu, it's not going to diminish.
I feel very proud that we have managed to stay together. In these forty years we have made forty-six films. Each one has brought a certain name and contribution to cinema.
We were asked to believe that the variety and the novelty of even the crude films of the early days would provide a means of entertainment which would cut out the stage.
I'm not interested in a film about deceit anymore. I think I was always invested in deceit on some level. But it no longer compels me the way it did for so many years.
For me, photography is not just about exposing film, it's about exposing the viewer to something new, a place they haven't gone before, but most importantly, to people that they might be afraid of.
I have actually lost a couple of roles - film roles - because a director or producer thought I looked too much like George Costanza, and I could not get out of that box.
