Young guys don't tend to want to portray people who have frailties or are less than macho.

When people want me to sign an autograph in a restaurant, and I'm eating. I don't even have to say no, I just kind of stop and look at them ... "Oh, okay. I'll ... I'll come back."

When the riots happened in L.A., they didn't go to Beverly Hills to trash Rodeo Drive. They trashed their own neighborhoods. It's one of those tragedies that we always see in riot situations, where the only thing that they can lash out against is the stuff that's right there in their own communities. They destroy the very things that help them survive in their own community. There is a level of futility in that.

Anyone who tells you money can't buy happiness never had any.

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.

I tend to play characters that I can infuse with certain kinds of humour. Even the baddest guy can be funny in his own particular way. I want the audience to engage with the character on some deeper level so that they leave the cinema still thinking about him.

I was Gator in Jungle Fever, and Chris Rock played Pookie, and those showed two very different dynamics of what crackheads were. Mine was more about the family relationships. So when people sat there and got that, they can sit there and say, "Oh, man, that's my friend." Or "That's my brother." Or cousin or somebody. They empathize, or they had something that they could latch onto, in that particular movie, of my story, and go with it.