One can never anticipate how audiences will respond. One of the lessons that I've learned over the years is to that no matter what my feeling or opinion might be about a given film, once you give it to the audience, they own it.
You know what I did? I turned down an offer to do 'Enemy of the People' with Steve McQueen. It doesn't matter that the film was never really released. A movie like that, successful or not, adds to your credits. It leads to other roles.
From a production point of view, I still have one foot firmly planted in the independent film world, and much of the shooting on 'Jumper' was done 'Swingers'-style because that was the only way we could afford to do it.
I've done scenes in films that I felt like the performance was better in certain takes, but they couldn't use them because it didn't match what the person was doing when they came around and the camera was on them.
As an actor, you're always at the service of somebody else's vision. In a play, it's more of the director's vision, and he or she's got their hands on you all the way up to opening night, and if it's a film, there are even more people.
I was involved in the color correction and the digital color correction. In an odd way, you end up making a film many times-the DVD, the archival record of a high-definition master, and so on.
Film, as far as I'm concerned, is my area of artistic endeavor, so I never think of a movie that gets released as being all done-it's just when they took it away from you.
Ethiopia is engraved on my heart. I first went in 1973 because I heard of a terrible famine. They were denying it even as we got the film out. The coverage destroyed the emperor's credibility.
Playing in front of an audience was just such a turn-on for me, and you have 200 people in the audience and it's like doing live theater. And filming something that goes to millions of people several weeks later, it's an interesting dynamic.
I've never seen a film get away completely unscathed like I have 'Animal Kingdom.' There's not a single bad review that I've read of it yet; all through Sundance, all it got was high praise.
I sit every once in a while and I think about plays and films I can do with William Petersen into our eighties. He's the most incredible scene partner I've ever had.
I continually marvel at people who can make films that reach five hundred million people. How do you do that? Everybody's different - I don't know how that works.
Film is better than digital in every way. It has better contrast ratio, better blacks, and better color reproduction. It's a more organic image, which is more the way your eyes see.
I went to see 'Star Trek Into Darkness,' and J.J. Abrams, who's a friend of mine, made this film, and I went to see it at the premiere. Believe it or not, I was really blown away by the comic timing of it.
You need to be invested in what happens. The characters are your conduit to the story. Many modern horror films are fun but not frightening because one has not connected with the characters.
You're not allowed to mess up in theater, and if you do, it is going to be embarrassing. But in film, if you make a mistake you just do it over again. You can just do another take.
Like, I'm a big fan of films from the '70s, like Cassavetes and things, where they just keep the dialogue really loose and just kind of roll, you know what I mean?
My friends and I make short films. We pretended to rob the Dairy Queen where our friend worked, but someone thought we were real thieves and called the cops! Soon, the cops burst in with guns drawn!
John Schlesinger had one of his friends designing it and he had never done a film before. Ten days before it started, they didn't have any costumes. I was rung up and joined up.
I've always loved films, always. I studied literature and I went to Columbia in New York and I went to Paris for part of one year and ended up staying there.
When I left Ohio when I was 17 and ended up in New York and realised that not all films had the giant crab monsters in them, it really opened up a lot of things for me.
