I've had the opportunity to work with so many great directors. Different styles, as well, like Gus Van Sant. He just does the casting and the milieu and let's you do your thing, quietly. Bertolucci, who can talk to you about your internal world in quite a creative way or just say, 'Well, put your hand over here.'

In my quiet, I was working something out.

'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.

I went with an exorcist for a bit. I just want to know really practical things, like how do you hold someone possessed by the devil.

I think - I don't know, maybe it's nostalgia. But the choice, losing the choice to be able to use film is going to be - it's gone. It's going to be gone.

Energy can't be created or destroyed, and energy flows. It must be in a direction, with some kind of internal, emotive, spiritual direction. It must have some effect somewhere.

Violence within the context of policing has a sense of control and power to it, whether it is dominance, getting what you want, or acting out of emotion. At the same time, it is not ultimately satisfying and [you are] trapped in the cycle.