Oftentimes, when we think of 3D, we think of things coming out of the screen, but actually, you've got this zero, this negative space, what they call the negative space, which is the scene, what's being filmed in the positive space of the audience. As you can have things come out, you can have all of this depth.

I had the classic 40 meltdown, I did. It's embarrassing. It was pretty funny. But then I recovered. To me, it was like a second adolescence. Hormonally, my body was changing, my mind was changing, and so my relationship to myself and the world around me came to this assault of finiteness.

On a good night, I get underwear, bras, and hotel-room keys thrown onstage... You start to think that you're Tom Jones.

'Speed' and 'Point Break' were a lot of running and jumping, and then 'The Matrix Trilogy' had a lot of fights and wire work and green screen elements.

Artists are losing the choice to use film. People have a love for it - the grain, how it feels, the texture.

I guess I'm not really involving my imagination to that of a circumstance or happening - I'm just kind of acknowledging it as an existence.

But, you know, it's still a drag to get your picture taken when you're eating a sandwich. It's a downer.