You can do crap work in a big movie, and it does good things. You can do great work in a movie no one sees, it does nothing. That's the way it goes.

I was living in New York, so I just rode my motorcycle up to the set [of New Jack City]. So first day of work for me was kind of tough. I get ready to get off my bike, and I'm surrounded by the security guards, who were Louis Farrakhan's Nation Of Islam guys. Who had the double-breasted suits and guns. And this guy goes, "Where you goin'?" And I said, "I'm here to work." And they said, "No you're not." And I said, "Yeah. I'm here to work on the movie." And they said, "No you're not. Get on your bike."

I think that there's room for everyone. I don't think that if one person succeeds then another must fail. That's lunacy. I'm not sure what the reasons are for my philosophy, maybe it's the fact that if there are ten people doing the same job, we all know how we feel and what our high points and low points are.

I wanted to meet Orson Welles. So I was like, whatever, somehow get me in on this. I'm able to get cast in it, but Orson Welles worked alone. He worked before all of us worked. He didn't want to work with anyone else.

You have to kind of roll with the punches. That's why I think work begets work to a certain degree. I just try and keep busy.

[In The Dark Backward ] someone who has writer's block and kills people in A Cabin By The Lake. I guess he's a type of serial killer, but I don't know.

You just have to learn certain technical things, like where the camera is, not to block people's light in your own, to hit your marks, and that you do it kind of piecemeal.