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I always thought what made 'Beetlejuice' look so great was because it looked like some genius kid made it in his basement.

Once you're on the set and shooting, it's all just cinema. You have actors and cameras.

As actors, we went where we wanted to, and the camera followed us: it was like having another person in the room. There was no formal structure to the process. It was very liberating.

I knew at the time that that wasn't the part I would be doing, they just wanted a screentest so they could have a look at it to show to the directors and producers. Then they wrote a part for me or maybe they already had it in mind, I don't know.

I'd had the theater background for so long that I know that world inside out; I just didn't know the pace of how a TV set works, like how a show shoots.

You're watching the movie for the first time when you're working with the actors in front of the camera. You don't think about how the audience will react. You discover the film.

There is so much to do on a film set. It is an extraordinarily invigorating and wonderful place to be, when things are running well.

Then that did very well at the box office, so before you knew it, we were in a string of feature motion pictures. Then they announced that they were going to do some spinoffs of us.

That was the beginning of modern acting for me. You don't have to tell a camera everything. It gets bored if you do and wants to look elsewhere.

It is awkward to see a director on the screen.