He was using me. When he cast me in Sideways I was nothing but a vessel.

As an actor I kind of do. I started out doing voice overs in the mid 80s when I was in grad school.

I'm not so proud to think that anything is unworthy, and I don't think I was that way 10 years ago.

Children from like 8 and even up to the college age - Spider-Man appeals to a fairly broad demographic but, like I said, a mean age probably of 12 is a good mark - they process information so quickly and it's not because of attention deficit or short attention span.

But at the same time, if the right thing came along, I would do it in a second.

But I think once the word gets out that the movie is funny - funny is transcendent - it will traverse all demographic barriers if people embrace it as a funny movie.

When I moved to L.A. in 1989, the very first thing I did was this horrific pilot called To Protect And Surf.

But I'm a citizen of Texas and try to spend most of my time there.

I enjoy doing press for something that I like, and I think the movie is very fun and charming and clever.

Cary and I are working together on another movie, Charlotte's Web.

Last summer when we were preparing for the movie, I actually kind of wanted to stay fairly uninformed about it. As we went through the process that we do in the movie, I wanted to be a little wide-eyed.

I invested, and I protected myself, so I enjoy that freedom.

I believe in singularity in relationships because you've got to have trust on both sides.

Their lives have been largely defined by failure and you would think the prospect of marriage, which is supposed to be bountiful and hopeful, it's just really another kind of tangential thing in his life.

And there have certainly been movies I wanted to be in and milestones I wanted to surpass that did not happen.

I would say 95% of the time, because you just can't remember your lines if you're drinking alcohol. I would say about 95% of the time it was grape juice or this fake wine, which was horrible.

I made a comfortable living for several years. I invested, and I protected myself, so I enjoy that freedom.

But all actors go through the process, it's hit and miss, you have achievement and failure.

He was using me. When he cast me in Sideways I was nothing but a vessel.

But to this day I am convinced that the real reason we met was because Alexander is from Nebraska, and he was completely fascinated that I was about to go off and make a movie with Brando - perhaps the most famous Nebraskan of all.

I kind of have a rededication in my life now to acting because I'm very fond of being in this movie.

But I certainly know a lot of people that existed at that level and are always kind of pining for more, always thinking that the next big break, the next opportunity, the big role are just around the corner of the next audition.

I love knowing that I'm not better than any other person on the planet.

I certainly was an actor and then I drifted more towards writing and directing.

Between Clive Owen winning at the Golden Globes and the British Academy announcing its nominations, of which Sideways received only one, I'm feeling pretty humbled these days.

To some extent I could identify with that because I kind of just made my money and got out.

I love going to the feed store and drinking coffee and talking about how much rain we need.

It's one of those scenarios where no, I never imagined that I'd be directed in a love scene - not even a love scene because it's kind of a hard-core sex scene because it's kind of just purely played for this carnal venting.

I like to keep my private stuff pretty vague.

I did a series called Ned and Stacey for two years for Fox back in the 90s. I was writer on it as well as a producer, and it was very important to me that there were no contemporary references.

The title of the movie is open to interpretation.

But all actors go through the process, it's hit and miss, you have achievement and failure.

Sight is about what lies right in front of us. Vision is what lies ahead.

Art teaches nothing, except the significance of life.

The present contains nothing more than the past, and what is found in the effect was already in the cause.

There are those, I know, who will reply that the liberation of humanity, the freedom of man and mind, is nothing but a dream. They are right. It is. It is the American Dream.

Well, after I had the heart attack, it was a very simple choice. What the doctor told me I did and I did it religiously. I ate nothing but lean turkey breast or chicken breast or a piece of fish that was very lean. I mean I stayed away from everything.

My life is so full of surprises, nothing surprises me any more.

Excuses change nothing, but make everyone feel better.

It is the privilege of the gods to want nothing, and of godlike men to want little.

They haul you up there for, you know, week after week in this kind of star chamber proceeding. Then at the end of it they say, well, we found nothing, but now it's time for special counsel.

Why are there beings at all, instead of Nothing?

Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.

For years the Trio did nothing but play for musicians and other hip people. We practically starved to death.

There's nothing worse than talking about yourself to find out that you're not that interesting.

In the kingdom of heaven it is His work that will be crowned, not yours. Anything in you that He has not wrought Himself will count for nothing.

If nothing is to be done in the given situation, he must invent plausible reasons for doing nothing; and if something must be done, he must suggest the something. The unpardonable sin is to propose nothing, when action is imperative.

There is nothing more agreeable in life than to make peace with the Establishment - and nothing more corrupting.

There is sometimes a peculiar confusion in the West that equates progress to whatever is recent or whatever is new, and it is time we understood that progress has nothing to do with the chronology of an idea.