They all matter to me, whether I'm working on a Sam Jackson film for a week or I'm the star of my own TV series - I take it all very seriously, and I have a healthy respect for the work in general, despite the role.

They all matter to me, whether I'm working on a Sam Jackson film for a week or I'm the star of my own TV series - I take it all very seriously, and I have a healthy respect for the work in general, despite the role.

I think that obstacles lead to growth and ultimately, the most learning I've done in my life is between jobs.

There've been many a season where I couldn't get work, and I think that you learn character development and you learn how to really want what you do in life when you can't really do it.

I think the obvious answer is I was raised in New York City, so growing up, not only myself but my family, like my father, we would watch a lot of Scorsese films.

I would say probably Pirates of Silicon Valley just because I'm proud of the work, playing Gates.

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.

There are people who do De Niro and Walken impersonations.

Well, I've learned something from Michael Robison just about maximizing your shots. For example, if I'm shooting a scene and someone's driving at the wheel, you could steal an insert in the same shot.

I mean, before this, I would have said playing Bill Gates, because I'm playing someone obviously who is alive and is the richest man in the world. That was a heavy responsibility.

So I think it's fair to say it's even more of a challenge for some of these actors that are coming up, because there's such a pressure to look good, to be sexy and be palatable to people on whatever level.

I think my favorite, and Coppola and that whole thing. East coast Italian directors I guess.

Movies are just ridiculously expensive.

That, we encourage, and I think we're doing a pretty good job with the website and also the DVD, like the first season came out and the second season's being prepared now.

Obviously with the onset of cable and satellite, there are more opportunities for programming and original programming, so it creates more opportunities for actors and producers and directors and everything.

I think it's even harder because I think as always, Hollywood is sort of glamour central for the world, and the entire world looks to it for not only entertainment, but the whole idea of the youth factor and youth being sold to our culture via young actors and actresses.

First of all, it was in my contract. I knew I would be directing an episode.

Cutting edge, breakthrough, television. That's what we want to do.

But on this show, it's a good question because in the 35 shows that we've done now, I've really made a consistent effort to really shadow the directors because in many ways they have to be more prepared than feature directors.

In the years since I worked with John Hughes, there were many years where I literally had hundred of doors slammed in my face because I wasn't that kid anymore, and I wasn't a character actor, and I wasn't a leading man, and I wasn't whatever Hollywood was looking for.

We don't want to show our hand to the fan base or give up too much too early.

You want to do work that is remembered, you want to be a part of something that's remembered.

15 years later, it's all the TV stars with the film deals, whether it's the cast of Friends or That '70s Show now with Ashton and other people doing stuff.

Well, I've just gotten accustomed to just being in Canada for five and a half months a year.

I think in both of those situations, it's important as an actor to learn, despite the success I had as a kid, that it's important to understand what it means to be a small fish in a big pond.

Like any show, I think some episodes are going to be stronger than others, but I think it's a good show that people enjoy and I hear the reactions too.

You have film actors doing TV, rap stars doing TV, with everyone kind of crossing the line.

My best film composing experience was with Elia Kazan.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

To make a documentary is one thing, to make a feature film is quite another.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

Robert Altman's Nashville is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.

I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.

I have a movie coming out called Spun, which will be at the Toronto Film Fest.

Well ironically my last three roles have all been a mother. One was a Canadian film where the baby was taken away because she is a drug addict, in Irish Jam I play a mother to a four year old. I think in the future I'll be able to handle the role with a lot more depth.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

A good film script should be able to do completely without dialogue.

My advice to young film-makers is this: don't follow trends, start them!

The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.

It's really rare for film directors to be that interested in things other than themselves.