I've been really lucky to work with some really great film people in the past, but television works on a much quicker schedule, and it's the TV directors I've worked with that I looked to and became a big fan of.
Filming scenes like that are always odd but I feel comfortable with Josh and care about him a great deal, so it could be much worse. Scenes like that are just part of the job.
I really want to be associated with great projects and character driven projects and films. I have to feed my soul, and keep feeling like an artist and keep being challenged.
Films and television and even comic books are churning out vast quantities of fictional narratives, and the public continues to swallow them up with great passion. That is because human beings need stories.
I don't regret doing any of my films. All of them have been great learning experiences, and they have contributed to making me what I am today.
It's a word called symbiotic, you send the messages and it comes back in return. Together, it's a wonderful thing, it's why television is so great and film can never reach.
I love working with Scorsese. He's not only a brilliant director and is great working with actors, but he's also a walking human film encyclopedia. It's fun to talk about movies with him.
I love film and, particularly, shorts. You don't get to see them often, and they're a great little form, like a short story.
I have been a big fan of the 'Fast and the Furious' franchise. The films are fast-paced, fun and keep the audience involved. There is a great mix of humor and action, something I really appreciate.
There's not one major greatest influence on my career. It would be film and great artists and great imagineers - Jim Henson, Walt Disney, Charlie Chaplin, people who understand the joy of the imagination.
Sometimes in films it's nice to have violins on either side, rather than on one side, so you've got more of a stereo picture with the violins. Sometimes it's good to have the basses in the middle.
I am blessed with a good metabolism, and as long as I work out, carbs don't add to my weight. If I need a leaner, meaner look for a film, I go off carbs for a bit.
The reason that some motion-capture films don't work is if the scripts are not good, and the characters aren't engaging, then you don't believe in the journey, and you're not connected to it. It's not the technology's fault.
I have always been of the mind that good work is good work, whether performed on stage, on television or in film and, like any reasonable actor, I keep my options open.
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.
To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.
Always changing genres, making very different films is a good idea. It's a way of making yourself feel vulnerable again, getting back to that innocence. As is working within a circumspect budget.
If you're clever enough and creative enough to get a good film made, then you should be clever enough and creative enough to find ways to get it out there, one being something like Jameson First Shot.
I think there's a lot of elements that go into making a really awesome horror film and that's like putting together like a real good group of people that you love to watch them either live or die.
I like to go from mainstream movies to more artsy films. I don't sign on for the money. Maybe I should, but I don't. There's always a good reason for doing something.
Although there were only about 24 episodes made it seems to run forever. They take a couple of episodes and put them together, making a feature film once in a while. I had good fun making the series.
