When you're playing a spirit from another dimension, you really can do anything and get as abstract as you want and still have a context that will work within the movie. I wanted Ghost Rider to move in a way where it would be like a bad dream. I thought about cobra snakes, and the way that they will show you their backs and sway in a rhythmic motion and almost lull you to sleep before suddenly attacking. Well, I put that into the movie. And I decided to move my head in the jerky way a praying mantis does. So, I did all these things to give the movie a feeling of otherness.

I'm not contractually obligated to sequels on anything.

I don't know why it is, but I do like dancing in the extreme situations. I like that noise, I like that intensity. For some reason, it's what I respond to in terms of my taste and of my instincts.

These so called Popcorn movies, or family movies, actually provide something quite beautiful and something quite necessary, which is a family bonding experience.

I would love to work with Tim Burton. I think we would be very good together.

My direction as a person working in film has been to never get comfortable with anything I was doing. At the time that I decided to do action films, people were telling me, "Well, you can't do it. You're not that type. It's not going to work." And so obviously that made me think, "Well, that's not comfortable. Maybe I should try it. What can I do with it?" So I did that, and I'm glad I did it. I'll probably do it again, and I did other kinds of things that seemed like challenges for me, because I like being on the high wire.

I have a love/ hate relationship with the city of New Orleans, which is the strongest kind of relationship.