'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.'

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.

I learned that I could not do enough work; it's always incomplete. When you ask a question, the answer will raise four more questions, and those four will become eight.

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.

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.

Actors have seven tracks going in their minds: They've got all the research they've done for the part, then they have whatever the director asked them to do, then they've got what the departments like special effects need them to do.

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.