When I work on a film, you know, I try to get or inhabit the body of the character -from the vision of the directors or how i think the character should be - so if it's a film like SPEED, you hit the gym, you get to do some, train with SWAT People, hehe, but in general, I'm really focused and dedicated, and then in regular life, I don't go to the gym as often.

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.

The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.

I do think there must be some kind of interaction between your living life and the life that goes on from here.

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.

I mean, I went to a Catholic boys school for a year, but that was to play hockey. Religion class was quite contentious for me.

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.