I said to myself, 'I've waited a long time in my life to have a child, and I'm missing it, I want to continue to have a career, but not this way.

For me, the motivation really was to work with Al Pacino. To me, that seemed like an incredible opportunity, just a learning opportunity because I thought so highly of him.

CGI is to me like watching a cartoon. It can be effective, if it's done well. A lot of times you don't feel any real risk. You're watching a bunch of computer-generated graphics.

I was always drawn toward the Actor's Studio. I studied at the Lee Strasberg Institute when I first came to New York. One of my favorite teachers was one of Al [Pachino]'s teachers, a guy named Charlie Laughton, who was just a wonderful, wonderful man.

I've had so many people just come up to me and say, 'When you came up on the screen, everybody in the theater applauded.' It's just so sweet, really.

There's something so wonderful about being an actor in New York.

I think it's very important that films like Bad Hurt don't get lost in the mix of the sci-fi-kill-everything-on-the-screen-blood-dripping-down-the-walls sort of the world of the cinema that we live in.