John Robinson

Stacy had this more fluid style. You meet him, he's just such a nice guy. Tony's an awesome guy too, but back then, he was a real aggressive kid and they were in such a different place. Stacy was so sensitive and at the same time so competitive when it came to his skating.

With Stacy, it was interesting because you know he was within all this chaos, all these different lives that were so broken and so much anger and so much frustration and their skating came out of that, their different styles came out of that.

So for me having that element of being able to be competitive wasn't a problem. I'm very competitive. I thought if I could skate first, acting would come second. I could say my lines and then go do what I was saying. You don't have to fake it, you're not really acting.

I have friends of mine that are actors or singers, and they're the classic guys where, they're onstage, and they're like, 'Okay, the blonde in the third row, seat 24, bring her to my dressing room.' I've never, never taken advantage of that, I swear to God.

I made 'Bowling for Columbine' in the hope the school shootings would stop and that we would address the issue of how easy it is to get a gun in the United States, and tragically, those school shootings continue.

When I have a creative insight, there is a high. I think back in the day, I made music as much as I did because it made me feel so good. I think you could argue that there is a creative addiction - but, you know, the healthy kind.