I had my neck hurt for like five years, I could barely move my neck from doing this stunt, I almost died twice doing stunts, it's really dangerous.

The New York Times made you or broke you.

I really love it, I love working with directors that are very collaborative and allow me input. I've done over 75 films, it's just like you're an apprentice. You learn so much about camerawork, lenses, and I'm always talking about DPs and directors and they always give me lists. I think pretty soon, I'll be ready to move away from being in front of the camera.

You just want to go off and be intuitive and wild, and that's what Bryan Cranston brings to the game.

Very, that show is crazy. It was like doing finals every week. It was interesting. I really learned a lot. The dialogue is so technical. I was so impressed watching the other actors and how they managed, so I studied them. And I was blown away thinking: "How do they do that? How do they put that extra spin on the complicated dialogue to make it interesting?

I love independent films, it's the only place as an actor you're totally allowed to breathe.

In Moulin Rouge I could not change the name of Toulouse-Lautrec obviously to Toulouse-Lautrec- Martinez. But in ER I did that, my name is Dr Victor Clemente, so sometimes it is possible.