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.

If you just work on your upper body, you're not going to be a full-range dancer or performer. You've got to work in all directions as much as you possibly can.

I watch many, many, many independent films every year that you see once in a film festival and they're never heard of ever again. Many of them are very, very good.

As actors, the magic is in the almost spiritual experience to really enter another world, to really enter a belief of being in another person's shoes and to really take on their experiences as someone else has written them and imagined them. It's kind of a sacred thing. It's a very spiritual experience. That in itself for me is the main thing that keeps me coming back to it. I like to travel, but for me, this is the greatest travel.

I was quite eager to work, anytime somebody was offering me a job, if I liked the role. Because I was always very discriminating from the very beginning, in the sense that I had absolutely no problem saying no to jobs when they came along if somehow they didn't fit into my universe - whatever that was.

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.