How do I confront aging? With a wonder and a terror. Yeah, I'll say that. Wonder and terror.

I'm Mickey Mouse. They don't know who's inside the suit.

It's always wonderful to get to know women, with the mystery and the joy and the depth. If you can make a woman laugh, you're seeing the most beautiful thing on God's Earth.

I am not handsome or sexy. Of course, it's not like I am hopeless.

I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.

The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.

But I think we're also just talking about the literacy of the audience. The visual literacy of the audience. They've seen so many images now, especially here in the States. There's so much to look at, to watch. So the visual storytelling literacy is harder to impress.

I don't know the law, the kind of law of quantity and quality, but I think the opportunity of people being able to express themselves and to have the means of production is a great thing. It's also changing how we're telling stories.

I mean, I went to a Catholic boys' school for a year, but that was to play hockey. Religion class was quite contentious for me.

I was always interested - I mean, it's kind of part of your job - I was always interested in the camera.

And of course to work with Jack Nicholson and Diane Keaton, and work with a wonderful, beautiful script directed by Nancy Meyers, it was really for me a dream come true.

I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.

I just felt that if I went into Speed 2, I just... wouldn't have come up out of the water.

I think - I don't know, maybe it's nostalgia. But the choice, losing the choice to be able to use film is going to be - it's gone. It's going to be gone.

When we talk about how movies used to be made, it was over 100 years of film, literal, physical film, with emulsion, that we would expose to light and we would get pictures.

I mean, if you didn't get it or if you didn't feel like you enjoyed it, sometimes that experience can change.

My name can't be that tough to pronounce!

Sure I believe in God and the Devil, but they don't have to have pitchforks and a long white beard.

'Speed' and 'Point Break' were a lot of running and jumping, and then 'The Matrix Trilogy' had a lot of fights and wire work and green screen elements.

It's the journey of self, I guess. You start with this kind of loner, outside guy, which a lot of people can relate to, and he goes out into the world.

Basically it starts with four months of training, just basic stretching, kicking and punching. Then you come to the choreography and getting ready to put the dance together.

I think the form, the Hollywood movie, I think the quality is obviously always going to be there and I think that the question of taste, there's always a question of taste.

The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.

I have a producing partner named Stephen Hamel, and we've been trying to generate material.

I do think there must be some kind of interaction between your living life and the life that goes on from here.

On a good night, I get underwear, bras, and hotel-room keys thrown onstage... You start to think that you're Tom Jones.

I had the classic 40 meltdown. I did. It's embarrassing. It was pretty funny. But then I recovered. To me, it was like a second adolescence. Hormonally, my body was changing, my mind was changing, and so my relationship to myself and the world around me came to this assault of finiteness.

I'm not a photographer, so I didn't get into F-stops or ND filters or background, foreground, cross-light, all that stuff. But I was interested in the camera and the lenses. That's the world that I'm moving in, in terms of acting and giving a performance.

Oftentimes, when we think of 3D, we think of things coming out of the screen, but actually, you've got this zero, this negative space, what they call the negative space, which is the scene, what's being filmed in the positive space of the audience. As you can have things come out, you can have all of this depth.

I loved the material when I first read it, and the experience of making the film was a great one. So when we came around to complete the trilogy, I just signed on board without even reading the scripts because the experience of the first film was so good.

You want to play another kind of character in another genre, and it's been something I've been trying to do if I can in the career so far, and it's something I hope to continue because it's interesting to me and you get to do different things as an actor.

I've had my body manipulated so many different times for so many different reasons, whether it's paparazzi photographers or for film posters.

The highest percentage of England's top jobs are filled by graduates from about two different universities.

In L.A., I'm twice the size - height and everything else - of most of the other actresses who are going for an audition.

I'm ... incredibly open with my mates. Or even people I just meet.

I'm a tomboy beanpole? I can't use a computer, so maybe I'm a bit out of the loop. I don't know whether to be flattered or not flattered. The beanpole bit, is that good? Can you be a sexy beanpole?

I went through voice coaching. I was absolutely terrified. I thought my knees were going to buckle, and the first couple of takes I sounded like a pubescent boy. I didn't realise I was going to have to do it live.

I've always gravitated towards people who are extreme. Whether its drugs, or kicking down doors. Normally, the people in my life had to escape to get back.

I enjoy doing an action scene. I'm not a purist as far as films go. If you want to do sex, great. As long as you do it well.

It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.

Prince William definitely isn't my type, he's too horsey-looking.

And we're fortunate if we have parents who are great and loving and inspiring. But, unfortunately, there are people who don't have that.

It's not everyday you get to do a pirate movie, you might as well go for it.

I've got a lot of experience with anorexia - my grandmother and great-grandmother suffered from it, and I had a lot of friends at school who suffered from it. I know it's not something to be taken lightly and I don't.

Half of my mum's family is Welsh. I remember when I was a kid she used to read to me, and witches and wizards in books always had a Welsh accent, so I guess I took it from that really.

If I don't do this film. I'll be acting in corsets for the next 20 years.

I wish I was Sienna Miller. When I talk to her, I hope a bit of her party personality will rub off on me, but it never does.

It's all about perfection, isn't it?

I would be extremely stupid if I said that my looks had absolutely nothing to do with what I do, it [moviemaking] is a visual medium. I'm perfectly aware of that, the face and the body help. Of course they do.

In film as a medium, you're often given a baddie and a goodie and told what to think about them; it's usually a very definite point of view.