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.

Part of the reason I thought that I might do a series is, my dad has pretty much been on the same road to work for years and years. And it's like, "Could I do something like that? Am I so independent that I can't punch the clock at the same place?" So part of it was a kind of exercise. "Can I be responsible in this way?" And lo and behold, I could. Luckily. It'd be bad if I couldn't.

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'm involved with Recording Artists and Actors Against Drunk Driving. I'm also involved with most children's causes, because children can't help the environment they're in.

A fancy watch, it's completely unnecessary. I just need a watch to tell the right time.

Stagecoach is really my first Western-Western, the whole horses and gunplay. It was really fun. We shot it fast, too. We got lucky with the weather. If it rained, I don't know if we would have been able to finish it. We had like 12 shooting days for the whole thing.

I remember Emilio [Estevez] and I were at John's house during the rehearsal process. And John [Huges] had mentioned he wrote the first draft of Breakfast Club in a weekend. And we both at the same time went, "First draft? How many do you have?" And John said he's got four other drafts. And we go, "Can we read them?" And for the next three hours, Emilio and I read those other four drafts.