What's interesting is that you can have a set that's very calm, very smooth, very cooperative... and end up with a terrible movie. And you can have a set that's really horrible as far as relationships and volatility, and come up with a great movie. Sometimes that energy gets infused into what ends up on film - it's interesting in that way.

There are a lot of considerations that come into play when you craft one of these 'Saw' scripts, and there's only so much you can put into them.

An actor puts himself in the hands of a director. And the director's first responsibility, obviously, is to tell the story, but the smallest thing that's not true reads on the screen. So if a director sees that an actor is not believable, he needs to help him become believable.

All I can do is do my best work, try to create the best kind of moment to moment reality that I can do. That's what I do. I'm an actor. And all the rest of it is like baseball. You hit the ball. Sometimes it goes in the hole. Sometimes it goes to the player.

What's interesting is that you can have a set that's very calm, very smooth, very cooperative... and end up with a terrible movie. And you can have a set that's really horrible as far as relationships and volatility, and come up with a great movie. Sometimes that energy gets infused into what ends up on film - it's interesting in that way.

'Saw' is a particularly popular film with 14-30 year olds, so I'll be at a playground and meet six or 10 skateboarders who just wanna talk about 'Saw.'

Saw is like a big jigsaw puzzle. When you put a jigsaw puzzle together, you put the bottom left corner together first, and then you find yourself working on the upper right corner... Thats the way Saw plays out.