I think that movies can help guide us through those experiences [the problems that are happening in our daily lives, the stresses between countries, the economy and global warming]. I think all art tries to grapple with, redefine, come to terms with, express what's happening now when it's working. You can be entertained, but you can also be stimulated to think about things.

It's always exciting when you can go into a mode where you can be both spontaneous and choreographed. Sort of in control and out of control at the same time.

One of the great bonuses of being a film actor is that I get to go to different places, meet inspiring people and learn different things. So all those details add up.

People are losing jobs, people need to be entertained, and I want to make movies that parents and children can look forward to seeing, that can become a kind of family ritual.

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.

Picasso said art is a lie that tells the truth. What if you just want to tell the truth and not lie about it?

I always say, if you think it’s over the top then tell me where the top is first. I don’t think anyone can. But if you can tell me where the top is then I’ll tell you whether or not I’m over it.