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.

When I play supernatural characters in 'Ghost Rider' or 'City Of Angels,' the possibilities are limitless. The possibilities are endless, you can do so much with that.

I find it inspiring and I always think when I'm working on something new, whether it's a new kind of character or a new kind of story or new kind of camera, it gets my creative wheels spinning.

I don't want a perfect character, I want a character who has, as strange as it sounds, some humanity, some flaws, some needs.

Movies work, in my opinion, on the best level when they're more enigmatic, when we don't say it's this or that and where it raises more questions than answers.

I wasn't any good at romnace. I was a total nerd. My thing is, I was just too romantic. I was the romantic goofball. I wasn't cynical enough or harsh enough. I cared too much, so I always made a fool out of myself.

My house is basically a trailer. I live a circus lifestyle. I'm always moving. It's not always easy for people that live with me, but that's the path I chose.