The whole point for me is to change as much as possible. If I've done one movie, I've done that, move on.

It's good to know that other people think differently, and that's what makes the characters interesting.

I find it quite difficult on studio films because there are so many different executives and things like that that you have to go through, so very often getting that definitive opinion is actually quite difficult.

You bring yourself to every role, it doesn't matter who it is, it doesn't matter if it's a mass murderer, you can bring something to it.

I had the classic 40 meltdown. I did. It's embarrassing. It was pretty funny. But then I recovered. To me, it was like a second adolescence. Hormonally, my body was changing, my mind was changing, and so my relationship to myself and the world around me came to this assault of finiteness.

On a good night, I get underwear, bras, and hotel-room keys thrown onstage... You start to think that you're Tom Jones.

I do think there must be some kind of interaction between your living life and the life that goes on from here.

I have a producing partner named Stephen Hamel, and we've been trying to generate material.

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.

I think the form, the Hollywood movie, I think the quality is obviously always going to be there and I think that the question of taste, there's always a question of taste.

Basically it starts with four months of training, just basic stretching, kicking and punching. Then you come to the choreography and getting ready to put the dance together.

It's the journey of self, I guess. You start with this kind of loner, outside guy, which a lot of people can relate to, and he goes out into the world.

'Speed' and 'Point Break' were a lot of running and jumping, and then 'The Matrix Trilogy' had a lot of fights and wire work and green screen elements.

Sure I believe in God and the Devil, but they don't have to have pitchforks and a long white beard.

My name can't be that tough to pronounce!

I mean, if you didn't get it or if you didn't feel like you enjoyed it, sometimes that experience can change.

When we talk about how movies used to be made, it was over 100 years of film, literal, physical film, with emulsion, that we would expose to light and we would get pictures.

I think - I don't know, maybe it's nostalgia. But the choice, losing the choice to be able to use film is going to be - it's gone. It's going to be gone.

I just felt that if I went into Speed 2, I just... wouldn't have come up out of the water.

I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.

And of course to work with Jack Nicholson and Diane Keaton, and work with a wonderful, beautiful script directed by Nancy Meyers, it was really for me a dream come true.

I was always interested - I mean, it's kind of part of your job - I was always interested in the camera.

I mean, I went to a Catholic boys' school for a year, but that was to play hockey. Religion class was quite contentious for me.

I don't know the law, the kind of law of quantity and quality, but I think the opportunity of people being able to express themselves and to have the means of production is a great thing. It's also changing how we're telling stories.