I don't think a lot of actors talk about it, but there's usually a process where you essentially purge yourself of the character that you played prior to the movie. That's the first thing. You want to do it.

It wasn't until I went to college and I got my first motorcycle that I understood the thrill of speed.

My mother gave me this book called Feature Films at Used Car Prices by a guy named Rick Schmidt. I gotta credit the guy, cuz he gave me the most practical advice. It empowers you.

A person in my position has to restrain himself.

If Clark Gable had a Facebook page, there would have been a 'Gone with the Wind 2.'

It's insecurity that is always chasing you and standing in the way of your dreams.

I am truly multi-racial. I never knew my biological father. I've always had less information than I would have liked to have had. All I know from my mother is that I have connections to many different cultures.

Film is my hobby, so I will work well through the night to develop films, whatever film I'm doing or dream projects I have.

I drive a Yukon Flex Fuel, and there's baby seats in the back.

We all deal with being unfairly judged.

I could care less about being an action actor like Stallone or Schwarzenegger.

You make movies for the people. If critics happen to like them too, well, that's a home run.

It was interesting to do a completely fictional piece. You know, Saving Private Ryan was not a fictional piece! So the challenge was: How do you incorporate real emotions? How do you incorporate aspects that people are going to be able to identify with?

I was walking around with the babies so much that when I got to the Sidney Lumet picture, I would be on set in between takes and I'd be rocking back and forth. Just standing like this rocking back and forth, and Sidney would say, Why are you walking like that in between takes?

My mom insisted on multigrain bread and never allowed soda in the house.

The whole year I was in LA I got into telemarketing and learned how to make money. Five years later that skill helped me make my first film.

Every actor has their own process. For me, I really need to stay in the pocket. So, if I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.

I was a bouncer for ten years in New York City.

It's really bizarre because no one knows this, but elephants have killed more animal trainers than any other animal.

I've been auditioning since I was 7 years old.

Most of my confidence came from being with ladies, because I certainly wasn't getting any acting jobs.

I shaved my head about 15 years ago and the first time I shaved it, I started running my hand through my hair and it was very therapeutic.

I love thinking about the film, the project and committing myself as much as possible.

Deal-making goes on with any job.

It's hard for me to talk about Dom right now because I am Dom right now. So it's a really strange exercise to try to reflect on something that I am at the moment. But I guarantee you that when I'm done with the movie and you ask me that question, I'll be able to give you something insightful.

I was the oldest of the children in my family. I had to do a lot of diaper-changing and lunch-making. I was taking my little sister to ballet, picking up my brother, sort of being a super-nanny.

If you take my performance or my understanding of the role and my appreciation for story and then dress it in CGI, that I guess becomes an action film.

I look formidable.

I always have issues with trust.

The films that I do are deep, introspective, brooding roles that you're in this heavy headspace all the time.

Filmmaking is such a collaborative piece of art that you can't look to one person - you couldn't look to me, you couldn't say, 'Because Vin's in it, it's this or that...' It's really all of us coming together for that period of time to try and make magic.

I'm the most ambitious person you ever met.

My gut feeling about sequels is that they should be premeditated: You should try to write a trilogy first or at least sketch out a trilogy if you have any faith in your film.

If you had asked me back in grade school what I wanted to be when I grew up, I would have said my first choice was an actor, but if I couldn't be that, I'd want to be a superhero.

I am definitely a person of color.

The only way anyone knows which girl I'm with is if a one-night stand goes on 'Howard Stern.'

I grew up the son of an acting teacher, so I was kind of introduced to all of these various methods early... I've never been really good at articulating how, what that process is in the way that Stanislavsky could.

I grew up with all kinds of people.

I do practice martial arts, more as a recreational thing, but a lot of my friends have been heavyweight champions the in mixed martial arts world.

I've directed independent film.

I think a few pictures at a time.

Well, love motivates me in everything I do.

None of the actor methods ever discussed what it would be like to play a character on film for over a decade, and what it must be like to return to a character and imagine the time off-screen, which is interesting. There's something as an actor that I enjoy about evolving characters.

I grew up in an artists' community in New York, in a building that was government-subsidised for artists. No one made any money, but they made art for the sake of art.

I am flattered that they think that many people would enjoy my work. I don't approach any genre a different way than I may approach another one. I treat every role I do like a role worthy of applying whatever kind of tactic, process and talent I have.

I have dangerous bones in my body.

You get a timeless cool card in New York.

I talk too much.

I'm not really afraid of the dark, except if I'm walking. The thing that scares me the most is the possibility of walking into a wall and busting my lip.