Then Mission Impossible brought me to Australia and that was great because I fell in love.
I told Leonard, in the immortal words of Tom Cruise in Mission Impossible 2, 'I'm going on vacation. If I tell you where I'm going, then it won't be a vacation.'
I got asked to remix a lot of movie themes, like Mission Impossible, which other people ended up doing quite well. But it was just never my thing.
It's like with Smallville, I'm sure those creators didn't know I had done a ton of Star Trek work. I was just the right guy for the job. Do I gravitate towards it? You do what you are best suited to do, so in me being a comic book fan and a fan of genre from my father being in Mission: Impossible and the spy genre and all that, when I go to audition, perhaps I have a leg up because I understand the universe better.
I remember when I was working on Mission: Impossible 2, John Woo said, "In Hong Kong, there's not much money and a lot of time. In Hollywood, a lot of money, not much time." Personally I'd prefer not much money, a lot of time.
I've appeared in those kind of films and have great fun doing it, and I'm always up for a challenge. I think with things like Mission: Impossible and Star Trek, those things are such an ensemble, it's not like I'm Ethan Hunt. I'm Benji. I'm the guy that does the computer business. I know my place.
When I work, I'm the actor. I'm going to do my job. I'm not going to direct the movie. If I wanted to direct it, I would direct it. I wanted J.J. Abrams to direct Mission: Impossible. I work with people that I respect. I expect them to do their jobs, and I will do mine. And I am there as a producer to help in any way, but no one makes a movie by themselves. It's a collaboration.
Oh Young Frankenstein - that's right, Body Heat, Raiders Of The Lost Ark. I mean, you know, it - they just keep going on and on and on - Mission: Impossible. And, you know, I think that the writers are having so much fun now with them that, you know, half the time, you know, people are just sitting around saying - trying to think of what's a great movie to copy.
On one occasion, Daniel Day-Lewis, Jeremy Irons and myself were due to appear at the Sarajevo film festival and were turned off a UN plane on orders from Geneva. We had to get local journalists to transport the films in for us. I tell you this only to demonstrate that festivals can be a lifeline. But, after all the difficulties I'd had in getting there, in 1996 I found myself being flown in on a four-seater RAF plane as an official guest, endorsed by the British Embassy. Ironically, the film I was to present was Mission: Impossible.
I'm gonna see 'Mission Impossible' Part 9 because I like Tom Cruise movies! But just because the box office has that one receipt from the ticket I purchased, doesn't mean it represents someone who liked it.
And how deeply do I let business considerations affect [screenwriting] choices that might otherwise be more or less esthetic? . . . Do I choose the upbeat rather than the downer ending because I know it will score better at the preview? Can the idea be sold in a single sentence? Can it compete with space aliens and tornadoes and missions impossible?
Oh see, first off you gotta realize - everything for me is a reconstruction or deconstruction. I would actually say deconstruction. Mission: Impossible would be the exception. That would be a reconstruction- deconstruction.
We do nods to Charlie's Angels and Mission Impossible because they are popular with our fan base.
I'm not Tom Cruise. Very few British actors are. If you look at the body of work I've done it's pretty obvious I'm not going to make a 'Mission: Impossible.'
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