In my screenplays - from the very beginning I've always used tape. I talk my screenplays. And then have somebody transcribe them.

If I'm going to act in someone's movie, I want the movie to be interesting and be able to get a couple of solid doubles.

Don't worry, and don't kick yourself forever. Just take the opportunities when they come.

'Drive' came to me because the casting director knew my manager and called and said, 'You've always talked to me about Albert wanting to play the heavy. I think he should read this.' My ears just perked up.

I've always enjoyed stories that take place in the future but my one disappointment was that the future books described never came. We're not on other planets, there are no flying cars, and the only robots we have in our homes just sweep the floor. So I wanted to write about a future that I thought could really happen. People ask me when I tell them the title of the book, 'Are we all dead?' The good news is, no. We're still here. And I even think the future in my book is strangely hopeful, although I'm sure there will be people who strongly disagree.

When you improvise on the spot, people are very reluctant to have soft moments or quiet moments or sad moments because they're trying to fill up the spaces. So they always go towards, "How come you're late?! You're supposed to have my shirt ready! You call this a dry cleaner?!" That's what happens. That's why improvising on the spot gets very dicey.

Art and resistance are great together. That's what art's made for. Look at Vincent van Gogh: He didn't cut off his ear because he was selling well.