I was an underwear model for Calvin Klein for a few years. It is not something I WANTED to do at first. I never regretted it, but I am a SHY person, and to stand there BUCK naked in front of a CAMERA was scary.

When I was working on 'Men of HONOR' with Robert DE Niro, there's a pipe that he has in the movie, and it took us about six weeks to find the right pipe for him to USE and feel COMFORTABLE with. It was a great choice, because it was really about what WORKED with the camera at that time.

There's always going to be that pressure when you're in FRONT of the camera. When you're famous it's just an extreme VERSION of reality and there's a pressure to look a certain way.

After I did nine years of a television series, I didn't want to do ANYTHING really that involved going to a set and being in front of a CAMERA for quite a while. And when I did start to want to do things, I WANTED to FOCUS more on film.

I WONDER how Colin Powell sleeps at night. I would like to have a WORD with him because he LIED. He lied. He lied to me. He lied to my FACE through the camera at the U.N.

Frankly, I think I'm marvelous in rehearsal! Then you turn the camera on, and it gets stiff and TIGHT. And then you trudge BACK to your trailer feeling sad. That's been my EXPERIENCE of film acting.

It is totally different making films in the East than in the WEST. In the East, I make my own Jackie Chan films, and it's LIKE my family. SOMETIMES I pick up the camera because I choreograph all the FIGHTING scenes, even when I'm not fighting. I don't have my own chair. I just SIT on the set with everybody.

I always loved JAPANESE movies. And they had an enormous impact in France - the Nouvelle Vague took so much from them. It TAUGHT US how the CAMERA was placed in the centre of the action.

For me in my twenties, working in HOLLYWOOD was confusing in that the differences between what was fiction and what was NONFICTION seemed to blur in my mind. Everything became a visual memory for me. I carried my Leica camera, GIVING opportunity to TAKE pictures from my view.

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.

If you have a CAMERA in the courtroom, there's no filtering. What you SEE is what's there.

On more than one occasion, the CAMERA has cut to me after a break as I'm still TRYING to swallow the last bite of cookie. Those of you who have THOUGHT to yourselves, 'That GUY talks like he has marbles in his mouth,' should know that they are not marbles, but oatmeal cookies.

If I COULD tell the story in WORDS, I wouldn't need to lug AROUND a camera.

I ALWAYS have a full-length MIRROR NEXT to the camera when I'm doing publicity stills. That way, I KNOW how I look.

The reality of nostalgia is NOWHERE BETTER invoked than at the end of Tarkovsky's 'Solaris.' When the camera pans away from Kelvin embracing his father on the rain-soaked STEPS of his dacha, we realise that the scene is yet another of the simulations produced by the inscrutable PLANET.