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.

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.

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 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.

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 try to think of acting in terms of thinking and doing. People think of it as, "Oh, let's get inside this guy." They think that acting is being, or feeling, or emoting. It's as much doing. One of the first things you do as an acting student is ask, "Can you say words and do a task at the same time, like sweep a floor?" You get to watch the human condition, and there's always a "doing" aspect of it. This couple, they're carrying backpacks, where are they going? Students? Or are they carrying instruments? It stimulates the imagination. So acting is doing ... and I forget how we got off on that.

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.