I like to keep my budgets at a certain price when I work for someone else, and even more so now that I'm working for myself, and use new technologies to deliver films that look like they have high production levels.
My father offered me a dollar for every pound I would lose as a kid. It didn't work. And it doesn't really work in the long run. Who are you competing against? It's you. You need to be doing this for you and only you.
'Rick' never really fit. I tried for 18 years to make it work, and no one wanted to call me Rick. It should always have been Ricky. That's what it always should have been, so I'm going back to it.
Well, thing is, after they cancelled 'Zen', I didn't work for eight months. And in that case, it was not my choice. After I've done something that I'm really proud of and I think changes the way I'm perceived, the immediate reaction is: nothing.
If it's not in New York, let's say it's in St. Louis, then they've got to find a place or get with someone who knows about the work... they've got to find a place like that and do scenes, and then try to get in plays.
For me, 'The Crystal Skull' was something I'd never done before, and I loved every minute of it. Working with Harrison Ford as well - he's a cowboy from Montana, the most unassuming man you'll ever work with, fabulous guy, and I loved it.
As I've always said, preproduction is so important. When you cast the actors, you've done much of the work. Now, you may need to guide them a little, take it up or down, have them go faster or slower, but the casting process is crucial.
In the film industry, we tend to pick up where others have left off, and I'd like to think the influences I picked up from Bruce Lee, Jackie Chan, Sylvester Stallone and Jean-Claude Van Damme are visible in my work.
I probably could be a world-class screenwriter by now if I had spent the kind of work I devote on Comedy Death-Ray to that. But I do okay, in that regard. I mean, my stuff gets bought, so it's all right.
The whole world is global. With the Internet, it's like we're all living in a small village. We're starting more and more to realize there is no difference, we can work together, we can put aside our differences and work on our similarities and be su...
If you start to disrespect the character you're playing, or play it too much for laughs, that can work for a sketch, it will sell some gags, but it's all technique. It's like watching a juggler - you can be impressed by it, but it's not going to touc...
I'm picky, very picky. I wanted to be an actor since I was nine years old, and I figured that was only one way to ever have any longevity, and that's to be careful about what kind of work you do.
I think zombies have always been an easy metaphor for hard times. Because they're this big, faceless, brainless group of evil things that will work tirelessly to destroy you and think of nothing else.
I work out six days a week. I do pilates, Bikram yoga and spinning. Every once in awhile, I'll throw weights in. I like to get some kind of cardio in every day, even if it's just hiking.
It's tricky to ask a filmmaker to explain his own work; usually we're the least qualified to make sense of what we've done, unfortunately, because of the tunnel vision required to create anything over four years.
My so-called 'reservations' and personal comfort zones can't define my work. That's not being professional. I feel that even if an actor is cast for the lead role or for any other part in the film, it is his job to do the film and not create an issue...
One needs to constantly read up, practice and work, irrespective of your profession. If I feel as an actor that I know everything, then how will I to grow? How will I improve? I'll be stuck in a rut, and eventually I'll grow complacent.
I can get a better role in TV and work more constantly than I can waiting around for my friends in Canada to call me every four years - which they do - and I go up there and play a leading role.
These days kids get paid enough that they probably don't need to work too much. The problem is when the person is old enough that they need to work to make a living, and the only thing that they know how to do is what they are already washed up in.
I'm a bitter-ender. It's potentially my fatal flaw that I do not give up on something. I will not rest. I work and work and work until I can no longer and someone has to remove me from the premises.
Honestly, as an actor, all I need to know, the way I kind of look at a scene, is like a puzzle. There are certain puzzle pieces that are bigger than others, and all I need to know is if this is going to fit here to make this part of the puzzle work.
