You know how it is with drawers and labels in the music business. They don't want anything to be complicated. They just want it simple, as simple as possible.
There are a lot of people out there who are just waiting that we fail. They brought up the theory that we're one-hit wonders and they want us to fall flat on our noses, just to prove them right.
I was with somebody else at the time, who I left - one, because I didn't really want to be with that person, and two, because I felt I'd had so much tragedy I needed to go off, go crazy, and maybe live on the outside for a while.
It wasn't that I was shy to go out with him, I just didn't want people with preconceived notions to assume anything about why we were together. I was pretty careful for a while.
If I do a poetry reading I want people to walk out and say they feel better for having been there - not because you've done a comedy performance but because you're talking about your father dying or having young children, things that touch your soul.
I knew I wanted to play "Dr Cox" really bad, which is always a huge mistake because as soon as you want something really bad, maybe you rip up a little bit.
I felt (a) it was a great role and (b) I wanted to stay in town. I wanted to stop going to these four month and five month gigs up in Toronto or Montreal or Vancouver or down in Mexico. I wanted to be around my son, Max. This came along and I was like, "I really want to play this guy!"
The attempt is that we want to get a couple of minutes under our belt, depending on how good the tests are and take that into Hollywood. The fallback is we're going to DVD anyways. We've got that covered.
I guess The Grudge made over $100 million, but none of them had long legs after they came out but they all opened up and found an audience. If you could make those movies for a price, which is what I want to do with Spawn, then you could have some success.
