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.

'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 really took it in-house. The Constantine character has a kind of flesh-and-blood practical look at things that would seem, other people would use the word, occult or spiritual. But here, demons are real. So for me it was more taking it from the film itself. I didn't really need to go outside the piece itself to inform me because the perspective on it, what the character does, was provided by the script.

A relationship is an imaginative act, it's an act of creation. Someone said to me the other day that a relationship between a person and a kid is unconditional; but the relationship between adults, to each other, is conditional, in a sense. But that condition can be the best kind.

We are the sum of who we are. We pick certain things at certain moments that influenced us.

I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.

Positive energy brings good feelings, and dark energy often means harm. But the destruction in dark energy is also a subtle aspect of construction, like how even forest fires have their benefits. Sometimes enemies are our best teachers, people can learn from their mistakes, destruction sometimes means rebirth.