We're all going to hell for the songs we sing.

For me, making a lot of dramas on one side it's a different sort of challenge, and on the other, it's not a challenge at all, meaning that my goal is to try and bring the realism and acting you might find in a straight drama with the intentions and conflict, where it doesn't feel tongue-in-cheek, but rather committed and real.

I'm a huge comic book collector. When I was a kid, I had both Marvel and DC. I was my own librarian. I made card files. I had origin stories of all the characters, and cross-referenced when they appeared in other comic books. I was full on.

If you respect the events and respect the real life tragedy, you can drive your film to address it in some mature way.

We should be writing more great roles for women, period. Another problem is that movies are generally made for 14-year-old boys, and 14-year-old boys want to watch 25-year-old action heroes.

As for the Folsom Prison show, ... would anybody have the guts to do that show now 50 Cent, maybe I think the whole idea of even playing to a crowd of people like that is so politically unfavorable now - it's like, 'What are you doing, singing for these people Do they deserve it' There's such anger in our culture right now, that kind of grace and forgiveness, we don't see that very often.

There's a level where the themes of a film are very relevant to me and also the idea of finding out how relevant one genre is to another. I think that westerns and samurai films and superhero films have a lot in common. It's just that the scale of the visuals in tentpole films can sometimes overwhelm the drama.