If you're an impressionistic painter and you want to paint expressionism, you've got to change. You've got to figure out a way to do it and do it. If you've been playing jazz all your life and you want to start to play rock n' roll, blues, then do it.

I've worked with multiple directors throughout the 'Saw' series with a lot of conversations as they bring their particular installment to the screen. If I've been able to do anything throughout the course of these films, it's been to help shape dialogue and to try to make things as delicate and as intelligent as I can.

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.

The only thing worse than working acting in an airplane is working in a prison - they're cold, and the clanging and the noise, it just gets under your skin after a week.

One never wants to do anything that's going to break that 'sculpture of the character' that's been done so far, or make anything that's been done so far become illogical in any way, so you always want to try to connect when you're doing a series of films that has a continuous character.

There's the moment in 'Saw' where I get up off of the floor at the end. That was shocking, because no one expects it. I thought they did that really, really well.

Saw has been a unique experience in that Ive had the opportunity to work with some really great artists, and everyone has contributed in so many different ways, in all of the different departments of a film crew.