Those are the rules. To improvise in a movie with other people, when they're following a script, everybody has to know what's going on. I think a line or two we might change. Certainly, I do. But I wouldn't call it improvising. I'd call it fudging the lines.

We [me and Eugene Levy] both try to play the reality of a moment and don't try to impose humor on something where it doesn't belong. Contrary to what other people seem to think sometimes.

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.

I used to like watching Helen Mirren's early films, because she was always naked. It's titillating.

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 see myself as a storyteller. So, when I read something, I see the story, and I see it on screen, in my head, in a certain way. I always want to see it and see me in it.

Everybody likes an extraordinary person or likes to think that they would be great with a superpower in an ordinary world.