In every respect, fantasy is like doing abstract paintings.

I have a lot of stories. I had done a thing called Nightmare in Red White and Blue, which was an anthology of horror films. I narrated it with a man named Joe Maddrey, who's a writer. He came to my house and said, "Lance would you consider doing this?," and I like Joe so much that I completely relaxed.

I ride really well and I shoot a gun really well. I love the genre. Once I did Westerns, I was hooked. I love them, but there's been very few of them made. I never wanted to play a guy who was acting like a cowboy. I wanted to play someone who had a real life, but was also trapped into situations.

I'm pretty slapstick in my life but nobody sees that. You get typecast. I'm from New York and I have a sh*t-detector that's outspoken. I'm very streetwise and the producers detect that. So they get me on a movie and kill me. I go into their offices and I'm sure when I leave they say, 'You know, he'd be great to kill'. I've been killed every way you can imagine.

Corporate nationalism to me is a little bit like what would have happened if Hitler had won. It's scary stuff. It's totalitarianism in a different from, under a different flavour.

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.

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.