[John] Hughes was well aware that to ignore the seriousness of young people is to encourage things like Columbine, so you might want to listen. And we were all pretty serious, a little bit, in high school. Some a little more than others.

If you read a script enough, especially a good script - I try to read it 40 to 50 times before you begin so you get a sense of the arc: what happens before, what happens after, what happens during.

I would go to trials a lot in Boston, as best I could. And it's incredible that, like, lawyers that had a good case weren't dramatic at all. Lawyers that had a horrible case would sing and dance and do whatever it took to convince the jury or the judge that this guy was innocent. So that was a cool thing to see because that made me believe that what the script [of From The Hip] was doing was totally believable. Now, maybe not ordinary. But it could happen.

I enjoyed [playing lawyer in From The Hip] as an ode to my dad. My dad went to Harvard and Harvard Law School, so he had some friends that practiced in Boston. So, there was a big law firm that he hooked me up with the senior partner, then the senior partner hooked me up with a young lawyer who worked in the firm. And the young lawyer was married to a public defender. So I would hang out with them, and I could see both sides of it, those that are corporate attorneys and those that help the poor and the disenfranchised.

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.

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.

As a kid, I had a crush on Sophia Loren and Raquel Welch.