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It's hard not to get a big head in the film industry, there are people on a set paid to cater to your every need, from the minute you arrive until you go home. It's kind of strange, but not unpleasant.

I'm interested in doing movies I wouldn't normally be interested in doing.

I realize I'm a very lucky man. I love what I do, I love films, TV and theater, and the fact that I'm able to make a living at it staggers me.

It seems that whatever we do is somehow beyond reproach - murder, rape, drunk driving - as long as we go on a TV show and apologize.

When you're in a movie, they treat you like you're four years old and give you whatever you want.

There's a strange sense of accomplishment in making an independent film. Everything's against you; there's no time, and even less money - you bring a bottle of glue, chip in twenty bucks, and hope you all make it through the day. If you manage to finish it and it actually turns out to be pretty good, it's thrilling.

Directing has only increased my admiration and respect for what it is that actors do.

My perfect day is constantly changing. Right now, it would be to lie around in a hammock reading with a portable phone and a table of food next to it. I would spend all day there. And that's all that I can possibly come up with on the spur of the moment.

I have several dogs and several cats who aren't really mine. In fact, they think that I am theirs. I'd like to have some goats and chickens, but I travel around too much.

I was up for Michael Corleone in 'The Godfather,' but, as I was only 10 at the time, I think Mr. Coppola made the right choice. The Julia Roberts role in 'Pretty Woman' held a bizarre allure for me. But, it's silly to look back with regret.

My first film as an actor was 'Fast Times at Ridgemont High,' a glorious experience that spoiled me for future films.

The '80s were a time of technical wonder in filmmaking; unfortunately, some colleges didn't integrate their film and theater departments - so you had actors who were afraid of the camera, and directors who couldn't talk to the actors.

I can count on one hand the directors who actually directed me.

I consider myself a very lucky man indeed.

Before I start directing a show, I try to spend a few weeks hanging around the set, getting to know the crew and talking to the actors about how they like to work. Who is fussy? Who is left-handed? Who wants to go home early, and who is the perfectionist?

To this day I over prepare. I draw storyboards for every scene - chicken scratches so crude that they amuse and horrify the crew. I send out shot lists, act out the scenes, and search for a theme that I can relate to. It's my favorite time of the process.

I try to read all news sources - not just CNN or FOX, but worldwide papers and journals, to get opinions from every end of the spectrum - and then I like to try to find out the cut and dried facts - and go from there.

I can relate to historical characters or imaginary ones. It doesn't matter if a story takes place in the future or in the present, as long as the story is compelling.

I've been directing more and more the last few years, I find it an enjoyable challenge.

I did a film called 'Fort McCoy,' based on a true story of one of the few internment camps during WWII that was actually in the United States.

Things happen to everybody in the course of a lifetime. Relationships end, people die, tragedy befalls everyone. So everyone has this wealth of experience, and the older you are the more you have to draw on.

My parents moved to American Samoa when I was three or four years old. My dad was principal of a high school there. It was idyllic for a kid. I had a whole island for a backyard. I lived there until I was eight years old and we moved to Santa Barbara.

But I've always felt that the less you know about an actor's personal life, the more you can get involved in the story in which he's playing a character. And I don't like to see movies where you know about everything that happens behind the scenes. I can't engage in the story if I know what's going on in the actor's head.

I don't want to see the zipper in the back of the monster suit. Like everybody else who goes to the movies, I want to believe the monster is real.

TV, in particular cable channels, has assumed the role of independent film.

I've been pretty lucky - or slothful - in that I've never been a 'career builder.' I take the jobs that come along that feel right, and that's left me fairly open to all genres, really. But with 'Caprica,' the complex, dark and very smart script was the draw.

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