It was the baseball fantasy of a lifetime - to be able to sit on the bench with all those professional athletes. I got to take my son along because I wasn't sure I would be able to play with them.

It was the baseball fantasy of a lifetime - to be able to sit on the bench with all those professional athletes. I got to take my son along because I wasn't sure I would be able to play with them.

When you're studying drama, when you're a young actor, there are simple rules about acting. "Why am I here? What prevents me from leaving? What am I trying to get? How do I hide something?" So when you're making a film like Abel's movie, you want to be thinking about those things all the time. And you wanna be armed with those things, and you hope the other actors you're working with have the same understanding of drama and scene and acting. Sometimes it works and sometimes it doesn't.

For example, Michael Mann's film Collateral - there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.

You hope and pray that you'll get involved with a director that you understand and who has the same sensibility as you do and knows how to push you and bring out the best in you.

Stanley didn't shy away from true humanity or from the ugliness that all people are capable of.

So the thing that's beautiful about the Rolleiflex is that I open the camera up from the top and put my face in and that the camera's all about composition and all about light.