I think you do independent movies because you're looking to cut away from commercial movies.

Commercial movies have to end with moral flags flown again and all that.

I have never forgotten John Candy's generosity. He showed me how to be a gentle leader.

A lot of people just ask me about how I can do small budgets and big budgets, but many actors do both. I think the more self-destructive impulse I have is doing so many different characters.

Sometimes you fall into the niche of being the confidant guy, or the good-looking guy, or being too charactery, or not charactery enough.

I've always wrestled against being typified in one way or another.

Television tends to be a more difficult medium for me to get my head around sometimes when it comes to certain things I get offered.

I'd have to say that it kills me that there's a concern that 'Torchwood' has gone to America to become Americanised.

No one wants to say, 'That's not funny,' when you're working.

I always feel like there's some behaviour that we're all capable - we have our inhibitions protecting from indulging in certain appetites or developing certain appetites.

You're always carrying something that's interfering. It's like static noise that doesn't have to be there, and you have to school yourself to clean that out.

I've been lucky to have opportunities with David Lynch in 'Lost Highway' and Jennifer Lynch in this movie 'Surveillance,' so I've always boomeranged around a little bit, and no one has caught my foot in the trap yet, but I think if I move fast enough... 'cos I think I got trapped a couple of times.

I did 'Malice,' 'Sommersby,' and 'Sleepless in Seattle,' and they're as disparate characters as I've ever played. But somehow, there was that thing - they were all second male leads, so they all didn't get the girl in some weird way.

Fox was interested in a different title to 'Independence Day.'

I've never really been a television watcher, so I never watch comedies.

I have gotten a number of invitations to be on television shows as 'the dad,' but that was Kryptonite to me. I was like, 'This would be the death of me. I'll be a cesspool of niceness.' It doesn't feed me.

I think about Laura Bush every once in awhile. She is a great supporter of the arts. I did a show at the Eisenhower Theater, and she would make a point of coming backstage. The relationship between Laura and George Bush was always that way where you felt like he was at his best behavior when he was in her company.

Stacy Keach was really fun to work with, and Henry Winkler was very fun.

I love that vein which uses sci-fi to address society's problems. It is the same when you have useful nightmares - things morph, and you get to confront issues in your dreams.

I've always liked authors such as Philip K. Dick and Ray Bradbury.

I think Westerns are always so great for clearing out the clutter and the ambiguities, and getting right to the broad strokes of that kind of situation.

I noticed that in 'The Revenant,' as much as it is a good story of revenge and endurance, there are times that you get to escape with a story like that.

I've been lucky to be a part of many blockbuster movies... in which it's hard to get to that level of being memorable, but I still have fond memories of 'Independence Day,' to be sure. There are also many small ones I've had that give me many fond memories.

I've always been a fan of George C. Scott, who was working in movies when I was in college... films like 'Patton' and 'Hospital.' I was really impressed by him, and I had seen him onstage as well in 'Uncle Vanya.' He was a champ to me.

I really enjoyed doing Albee's 'The Goat.' It's a powerful piece and a really exciting play to do.

I did a lot of Shakespeare touring when I was in college in Montana.

I'm often confused with other actors. But the people who know my work don't have that problem.

'The Last Seduction,' 'Sleepless in Seattle' and 'While You Were Sleeping' did a lot to get me noticed for bigger roles.

I've seen a lot of actors in a lot of different stages of their careers, and I've seen it come and go. People get a sense of entitlement from it. And that's when it starts getting you in trouble.

I have a pretty good grip on who I am.

I have always been impressed by the fruit community. There is a Tao of fruit, which is generous. You share what you know, and you give what you can.

I planted an orchard when I was 13. The impulse came from wanting to grow my own apples. That and the nursery catalog showed an apple tree with a beautiful girl standing under the fruit. Whether the flavor or the picture that did it, I've been hooked since.

I'm not a gardener. I don't have the consistency for gardening, and I have barely enough for an orchard. I don't embarrass myself. You have to be there tending and weeding. With orchards, you can go through negligent periods and recover.

I don't have a favorite fruit. There are things that thrill me each turn of the season.

My interest in theater really began in the '70s when American realism wasn't really in favor. I really dreaded going into a play that had a toaster that worked. I just didn't want to see that.

I don't watch TV. I'd probably be a better person if I did, but it makes me anxious.

I don't think I'm repeating anything I've done before, but sometimes I lose track.

That's how we invaded Iraq, through the fear of an 'evil empire,' and it just makes people feel like bulls with the toreadors - you see red, and you charge.

We're all part of humanity. And maybe there's something about the worst people, with the most destructive, warped minds, that is just an acceleration of something that is in quite a few of us.

The poem is not, as someone put it, deflective of entry. But the real question is, 'What happens to the reader once he or she gets inside the poem?' That's the real question for me, is getting the reader into the poem and then taking the reader somewhere, because I think of poetry as a kind of form of travel writing.

Often people, when they're confronted with a poem, it's like someone who keep saying 'what is the meaning of this? What is the meaning of this?' And that dulls us to the other pleasures poetry offers.

There are interesting forms of difficulty, and there are unprofitable forms of difficulty. I mean, I enjoy some difficult poetry, but some of it is impenetrable and I actually wouldn't want to penetrate it if I could, perhaps.

Humor, for me, is really a gate of departure. It's a way of enticing a reader into a poem so that less funny things can take place later. It really is not an end in itself, but a means to an end.

I write with a Uni-Ball Onyx Micropoint on nine-by-seven bound notebooks made by a Canadian company called Blueline. After I do a few drafts, I type up the poem on a Macintosh G3 and then send it out the door.

I think what gets a poem going is an initiating line. Sometimes a first line will occur, and it goes nowhere; but other times - and this, I think, is a sense you develop - I can tell that the line wants to continue. If it does, I can feel a sense of momentum - the poem finds a reason for continuing.

The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.

The pen is an instrument of discovery rather than just a recording implement. If you write a letter of resignation or something with an agenda, you're simply using a pen to record what you have thought out.

I think my poems are slightly underrated by the word 'accessible.'

Radio is such a perfect medium for the transmission of poetry, primarily because there just is the voice, there's no visual distraction.

Listeners are kind of ambushed... if a poem just happens to be said when they're listening to the radio. The listener doesn't have time to deploy what I call their 'poetry deflector shields' that were installed in high school - there's little time to resist the poem.