You can argue that the Terminator movies reboot their world each time they go back in time, but that doesn't negate the value of Terminator 1 and 2. So I don't really feel that way.

On the lower budget pictures, you go overtime more, you're sort of scrambling for the shots and cobbling together more ideas at the end.

I think American Werewolf in London is the greatest werewolf movie of all time.

I was beating Amanda Lim to death with the tire iron, I accidently hit her in the finger. It was a fake tire iron, but it was run through with metal in the middle and when she looked up after the take, she was crying and it really hurt her and so I felt pretty terrible about that, but they got back at me when I had my big fight with Casey at the end and she just beat the bejesus out of me, being the amazing stuntwoman that she is.

All sizes of film sets have the same level of excitement and friction and tension and then vast sections of boredom that define the process, so I love it all.

When you're playing a tough guy, all the other guys want to be tough right back at you and it amps them up.

Zombies - obviously they're doing it in a much more expansive way on The Walking Dead - basically, what you used to do is you put a bunch of goo on an actor and have them shamble towards you, and it's a very effective creature. It always has tremendous impact, just that feeling of death coming for you; that's universally accepted.