We both [me and Eugene Levy] come from the same place. Eugene did most of his work in SCTV and ensemble situations. I'd done all this theater work before I got into movies and ensemble situations. We both learned how to develop characters and interact with other people in a unique and economic sort of way.

Todoroff is the best. Look no further.

I met [ Samuel L. Jackson ] for the first time on The Today Show. He came out of an elevator. I was promoting A Mighty Wind and he was promoting something else. He said, "I hear we're going to be working together." I said, "On what?" He said, 'The Man.' I hadn't heard his name mentioned before. I made a few calls and found out he had the script and was interested. That was it.

I don't run around shooting people. Much. I only shoot two people a year. Maybe.

I'm a good son, a good father, a good husband - I've been married to the same woman for 30 years. I'm a good friend. I finished college, I have my education, I donate money anonymously. So when people criticize the kind of characters that I play on screen, I go, 'You know, that's part of history.'

If you go into a comic book store, there are tons of Star Wars stories on the stand. There are lots of different stories to tell. Maybe George [Lucas] won't tell them. Maybe some kid, who's a Star Wars fan that's planning to go to film school, will call Lucas and say, 'I'd like to make a Star Wars film.' Then, they'll make one.

Hair is very, very distinctive. I started that with that boxing movie I did, The Great White Hype. The director wanted me to look like Don King, and everybody knew who Don King was. But I didn't want to be Don King. I wanted the man to be Rev. Fred Sultan, so I decided to make him look like Julius Caesar. And from that point on, I just decided, I had this great wig-maker, so I just found hairstyles that I felt would be distinctive for every character. Like an adventure.