We've come a long way in our thinking, but also in our moral decay. I can't imagine Dr. King watching the 'Real Housewives' or 'Jersey Shore.'

It's always interesting to play characters who are vulnerable and how you display that vulnerability and what it's going to mean to people who watch it.

Painters get up and paint. Writers get up and write. I like to get up and act. It's not a big deal. It makes me happy.

I think the biggest challenges for franchises are keeping them fresh and exciting, and most times, you need a good bad guy to make that thing continually work, and sometimes they don't.

I was desperate on Coming To America set - not to buy drugs or anything, but I had a person at home, a girlfriend who's telling you, "You're out the bills and food. You need this, you need that. And you either get it, or don't come back." That was me.

Just because people don't trust people doesn't mean [they] don't like them. There are lots of paranoid people in the world. You figure out their personalities and make them work.

Die Hard With A Vengeance shooting was a great time, because we had an interesting script. The first script was called Simon Says, and something was going on, because some days we'd get to work, but we wouldn't actually have dialogue. We would go to Bruce's Willis trailer, and they'd say, "Okay, you have to go from 168th Street to 97th Street today. We're going to do it in the cab, and Sam, you say this. Bruce, what do you want to say?" And that's how Bruce's "hey, Zeus!" thing came up.