When I interview somebody, I look at their resume to see what they've done, who they've worked with, and how many times. If they've gotten repeat work. Those are the kinds of actors I want to hire.

They actually bought me for Daredevil 2, but they have to exercise the option.

When you work for Bruckheimer, you don't get it any better. He's the ultimate producer. I've had the good fortune of working with some great producers over the years.

What the hell did I do in the 80's? Midnight Run. A perfect movie. Just a perfect movie.

They've been talking about Pi, which I haven't seen, they've been comparing it to Usual Suspects, Sixth Sense, and Fight Club, and I didn't see that either.

I've been saying in the press that being a NY Post investigator reporter is an oxymoron.

There aren't any small parts, only small paychecks.

Living in the projects helped me with this role.

When we were making The Fugitive, we all thought it was going to bomb.

One thing that's great about being a character actor is that a movie doesn't rest on your shoulders. If it bombs, it won't hurt my career.

Who owns the NY Post? 20th Century Fox. Talk about vertical integration.

When I got the script for Memento, I read it and I got killed off on page one and I fired my agent.

The amateur porn business makes $11 billion a year. They don't get bad reviews.

The greatest leading man, in my opinion, will always be Cary Grant.

Let's face it, 80 percent of the work I do my kids can't see.

I've worked with Steven Spielberg three times. I'm proud to say that I'm one of those actors that continues to get hired by the same directors.

I think one of the geniuses of Bound and The Matrix and Memento is the complete collaboration of the effort. There were no rotten apples.

Bad Boys II has knocked everyone's socks off.

It's all about people. It's all about the subjectivity of what people love.

That's another reason I did Daredevil: I didn't get killed off in it.

When I interview somebody, I look at their resume to see what they've done, who they've worked with, and how many times. If they've gotten repeat work. Those are the kinds of actors I want to hire.

Actors always have opinions.

You'll never see me in the red leather. I don't have the chin for it.

The Moguls is a story about guys that have all grown up together and are now in their late 40s, early 50s.

I've been so good in so many movies that nobody saw.

We have to promote a movie. It's just extraordinary that everybody I'm talkin' to loves this movie.

I wanted to play a good guy after doing this lunatic on The Sopranos for two years. And then they did the sequel to Bad Boys, where I get to play the barking captain again.

I've been very successful doing voices in movies. I did Olive, the Other Reindeer, with Drew Barrymore, and I did Cats and Dogs. My children came to some of the sessions.

The camera looks into your soul.

Twelve to 15 years of acting school, and I am being a bird.

I've been on jobs where there's that one actor who is just a miserable, miserable no-good, dirty bastard, and it just turns the whole process sour.

In private some critics have come up to me afterwards and told me they honestly enjoyed the movie. Then they'd tell me that they're still going to have to write it up negatively.

I don't like directors that just say, Stand there and now do this.

Good actors are a dime a dozen, but I want actors that are gonna be part of my team and collaborative.

We should do another 10 Bad Boys movies. I could come in in one of those electric wheelchairs, like Peter Sellers in Dr Strangelove, just shouting away.

It's such a luxury to be able to be happy about going to work in the morning.

Actors love mental disorders, dialects, and corsets. Give them one of the three and they're happy.

What's fascinating is that when you write a script, it's almost a stream of consciousness. You have an idea that it means something, but you're not always sure what. Then when you get on the set, the actors teach you.

Young actors often don't think of the consequences of doing nudity or sex scenes. They want the role so badly that they agree to be exploited, and then end up embarrassing family, friends, and even strangers.

I've seen many actors go awry by making the wrong choices early on.

Actors are able to trick themselves into treating anything as if it's fantastic. It's a kind of madness really.

David Cronenberg knows what we actors do as artists.

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.

I'm not in the business of becoming famous. And that's the advice I give to younger aspiring actors. Work onstage and do the little roles. In the end it's not important to be seen. It's important to do. There's a lot of disappointment in this business, but my family keeps me grounded.

Actors get pigeonholed very quickly, particularly movie actors. In the theater, one is more used to casting people against type and trusting that their talent and skill will get them through.

Comedians are not usually actors, but imitations of actors.

I was very pleased you know, and I was afraid that I might stick out, but I didn't. My happiest thing about that picture is that I proved that American actors can speak as well and also fit in with an ensemble like that.

I've worked with a lot of really fine actors, both on stage and on screen. The level of their game lifts me up and brings the level of my game up to theirs. Always. It's like a constant upgrade.

I feel like I'm the most well-adjusted character on the show, even though I'm sure the other actors would tell you the same thing about their characters.