When I was a kid, all of the parents and grandparents came out of the Depression Era. They were all freezing bread in their freezer, they were covering their sofas with plastic, and they had plastic runners on the floor. There was a great distance between them and anything authentic.

When I'm making a movie, I never watch the dailies. I see the movie once and that's it. It's really not about that for me. It's not about the externals. When I'm on a set, I don't want to see it. I want to be subjective in it. That's my habit now.

I have never gauged myself against anyone else.

In every respect, fantasy is like doing abstract paintings.

There's a potter that lived back in the 1800s, in Biloxi, Mississippi, and his name was George Ohr. He was of Russian descent, but they called him the "Mad Potter of Biloxi." I'd love to do a great character study and comedy about that guy's life. That would be my dream role. I know it's an oddball thing, but it's true. He lived at the turn of the century, in the 1800s.

There are so many varieties of films. You've got the jet-lagged films, where you fly to Bulgaria or wherever and get off the plane, and they bring you right to the set, and you start working, even though I don't even know my name, it's been such a long flight. Then there's the alimony films. But after you've been doing this long enough, you've gotten into every kind of situation you can imagine, even to the point where there is basically no script, so you have to kind of do it scene by scene and survive.

I learned a lot. I really did. Millennium is a state of mind. I always thought of Frank Black as the greatest chess player that could take random pieces of information and string them together into a scenario that was accurate. I never thought of him as a psychic at all. We need people like that.