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You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.

I've done lots of improv things but not a whole movie.

Certain movies like 'Wag The Dog,' we used improv on every scene that we did. Pretty much, we would shoot from the script and then some stuff that we came up with in rehearsal, and then we'd have at least one or two takes where we completely went off the script and just flew by the seat of our pants.

Sometimes with films you have a freedom to be able to, Okay, we got that take so let's try another one where suddenly I'll say this, or you'll get to improv. You can't do that with stage. We have to make it new every time, and also within the structured settings.

When I'm actually assembling a scene, I assemble it as a silent movie. Even if it's a dialog scene, I lip read what people are saying.

See, that's the thing: I'm not one of those actors who thinks, 'God, I've got to improvise and make it my own.' No, my first job as an actor is to take what's written and make it work. And then, if they want me to improvise, I'll do that.

I've worked with multiple directors throughout the 'Saw' series with a lot of conversations as they bring their particular installment to the screen. If I've been able to do anything throughout the course of these films, it's been to help shape dialogue and to try to make things as delicate and as intelligent as I can.

There are very few actors who are truly good at improvising; that's a real skill.

I don't like improvising on camera, particularly, but very often, a scene will not be working, and you rehearse it once or twice, and you realize something's missing. So I'll play with it until it makes sense.

I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.