One of the first speaking roles I had was in a film called 'Svengali', with Peter O'Toole and Elizabeth Ashley. I was a waiter, and I had about three lines. And I was ready! I had been around people like that, and I knew they were just actors. All the work I had done, it was all there, and I felt like I knew all the mechanics.

No matter what kind of significance leads you do, you learn a lot from doing schlock. The setup's the same, only you have to work twice as hard to make it the best as you can make it. And a lot of acting is not about acting but technology. Are you standing in your light? Are you out of your light? And if the sound guy's near you, please don't put the coffee cup down at that moment, because you're covering your lines. All of that stuff's going on in your head, so you learn a lot by doing whatever. In my view, never worry that something's not prime - A, number - one stuff.

You know, the best-laid plans of mice and men... I like playing bad guys, and I don't have a problem doing that. They're interesting characters, and there's as many different kinds of bad guys as there are good guys - they're rich, they're strong, they're powerful, and so that's fine with me.

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.

'Saw VI' has a really interesting theme about the ripple effect. Everything you do affects the guy next to you, which affects the guy next to him, which affects her over here. And you might think that what you're doing is not that significant, but just the way you respond to other people makes the world the way it is.

Watching a child first learn to crawl on a carpet somehow has more significance to you as you get a little older. Perhaps it is that you have suffered more.

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.