I don't want to deal with the underneath while I'm, you know, while I'm making it or while I'm writing it or when I'm making it. Because again, I don't want to hit these nails on the head too strongly.

I surprised myself, that I was in the tissue of the character enough, that I could actually come up with something that I didn't actually feel or didn't believe.

I like a much more Japanese style of blood, where it's red and it almost has a paint kind of quality to it. You can put it on metal, and it has this vividness. Because, normally, what they use in Hollywood is this stuff that looks like strawberry pancake syrup or raspberry pancake syrup.

My plan is to have a theatre in some small town or something and I'll be manager. Ill be the crazy old movie guy.

I think it almost all has to do with coming at writing from an acting perspective, because I didn't, like, study writing. I studied acting.

You know, my problem with most screenwriting is it is a blueprint. It's like they're afraid to write the damn thing. And I'm a writer. That's what I do. I want it to be written. I want it to work on the page first and foremost. So when I'm writing the script, I'm not thinking about the viewer watching the movie. I'm thinking about the reader reading the script.

I'm a human being with a conscience, and when I see murder, I cannot stand by, and I have to call the murdered the murdered, and I have to call the murderers the murderers.