People often say that you should never work with child actors. I think that's all wrong. Children have not had the imagination kicked out of them by life experience and adulthood. So, they still are very much alive with that kind of magical thinking which enables an actor to believe they're in these circumstances and make them real to you.

Good science fiction is intelligent. It asks big questions that are on people's minds. It's not impossible. It has some sort of root in the abstract.

To begin... To begin... How to start? I'm hungry. I should get coffee. Coffee would help me think. Maybe I should write something first, then reward myself with coffee. Coffee and a muffin. Okay, so I need to establish the themes. Maybe a banana-nut. That's a good muffin.

Film has lost something in the translation to high tech. It's become so super-real. It's with digital this and stereo that, and everything's like a CD.

I think what makes people fascinating is conflict, it's drama, it's the human condition. Nobody wants to watch perfection.

My definition of a father is someone who empowers their children.

I didn't play the Ghost Rider in the first movie. That was a stuntman. In this film, the Ghost Rider feels much more alive because I did put some thought into how he should walk and into how he should move. I was so into the character, in fact, that I would paint my face with white and black makeup to look like a skull. And I put on blacked-out contact lenses, so I almost looked like an Afro-New Orleanian voodoo icon by the name of Baron Samedi. Oh man, I would walk around the set without saying a word to anybody, and I could see the fear in my co-stars' and co-directors' eyes.