With the Internet, kids today learn things quicker than we do and they have everything there is to see, so you have to do more than just remake some old '70s film.

I try to ground most of my characters in reality somehow. That's kind of what I bring to the table.

It's rare that I come across actors who are willing to work as hard on the material as I am.

A lot of kids do look up to us. But there are just as many elderly people to put us down.

In my freshman year in high school, I went to the only public high school in Boston with a theatre program.

We never really felt a real level of respect. The fame was fantastic, but that wasn't that important to me, because for every million people that loved me I focused on the one that hated me.

If you are succesfull for 20 years, you can't expect to stay on the same level all through that period. A career has its ups and downs and in-betweens.

For young filmmakers, Saw is a perfect film. It doesn't cost the GNP of almost every country of the world.

With the Internet, kids today learn things quicker than we do and they have everything there is to see, so you have to do more than just remake some old '70s film.

Look, we are a rock group. But you should see all those things in perspective. People tend to blow up everything into ridiculous proportions. And then the fun is gone real soon.

The food in Europe is pretty disappointing. I like fried chicken. But other than that Europe is great.

Ultimately in the end, it's the director's choice.

I'm a fan of good horror movies.

It doesn't matter to me if it has a surprise ending or not. I usually go for the material or the project.

What's important is self-appreciation.

I go wild on a stage. Some folks have measured us an image. They pretend us to be saints. And that image is much tougher to keep up with. Because that's not who we are.

There's a real danger in doing a sequel. There are some benefits, but that all hinges on how well you execute. Quite frankly, most sequels don't execute well.

I had to learn how to become a real actor, I had to suffer and be rejected and face that 100 times just like every actor. It wasn't like someone handed it to me.

It's not hard to keep up the image we chose. It's not hard to stay yourselves.

I didn't have big movie offers, or any big agents wanting to work with me. I had to go grassroots, start at the bottom and go on 150 auditions before someone finally gave me a shot.

We're entertainers, while people want us to be gods.

In the end I'm the only one who knows me.

For a Bostonian... we live in the shadow of New York, and to be acknowledged by New Yorkers is really the greatest feeling.

I can always see something of myself in the characters I play.

I love food shows: Anthony Bourdain, Iron Chef, Chopped, you name it.

I love the rush of being creative. I really think I live for it.

I wish I was a guy who could have pancakes and bacon and cheesy eggs, but I'd curl up and pass out. I gotta start healthy or I'll be off the rails all day.

I'm not a big fan of table reads or sitting around a table and reading a script. I'd rather do it on set and do it for real.

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.