“I have always been interested in the occult, but during the filming of The Mummy I had to keep such things private, especially in those days. I used the occult auto-suggestively…I mean, before I would play a scene I would get into the spirit, so to speak, with certain prayers. As a child my father gave me an Ouija board and soon I started to get messages, then I moved towards the Tarot. By the time I was in Basil Sidney’s company I was asked to read cards all the time for the other players, and Basil himself depended on what I saw in those cards.”

“My days at Baylor were not too different from my days as part of a company. I had to manage my time. I had to divide it into certain pieces so that I’d get as much done as I possibly could. And I had to have the discipline to stay focused on the most important things that needed to get done.”

“Roger: Let's see.. Chris and Vinnie knew each other in high school and were in bands and then moved to Gainesville, Florida for college. I moved to Gainesville, Florida for college. And then Chris had a party and I told him I played guitar. Which I played guitar at that time. And he said you should come and play guitar then I went to practice with a guitar and then they're like, "Oh, by the way, we're going to be kicking out our bass player - would you mind playing bass?" I said OK. So I went out and bought a bass and that was in '92. And that's how it started. Then we started getting into the horn player thing. Shuffled a few horn players over the years but it's been the same main four guys the whole time.”

“Nothing ever stops me. Certainly coming into Hollywood, I knew that there would be certain limitations. But I also couldn’t play a woman or I couldn’t play a white hero. To play Asian and to speak with accents because I speak Japanese, it never really bothered me. All I always look for in every piece is how can I use this piece to move to the next step? So the worst thing about playing Asian bad guys would be to not be remembered…”

“[After the 1990 bus accident] I could not feel my legs, and I knew that I was paralysed. For me, this was a premonition of my worst fate proved right. When I was a child, I always ran up the stairs two at a time, and when I reached the top I would say to myself, one day I won't be able to do this because like my father I will lose the use of my body. Now I knew it had happened. For months afterwards I was locked back in myself, just as I had been when I was a child. But also part of my premonition had always been, strangely, that I would lose my body but in the end it would be all right.”

“I realize that if I wait until I am no longer afraid to act, write, speak, be, I'll be sending messages on a Ouija board, cryptic complaints from the other side”

“There were times when I wished I had been 'prenticed to a different trade. I was putting in seven hours a day on it. It was an odd life I was always hoping that the end of one thriller would not overtake me before I had finished the other.”

“I don't have a sense of time. Time is timeless to me, and I'm not in a hurry to get older. I mean, if I were worried about time, all the time, it would be terrible.”

“The scene I had just witnessed brought back a lot of memories — not of things I have done but of things I have failed to do, wasted hours and frustrated moments and opportunities forever lost because time had eaten so much of my life and I would never get it back.”

“Universal was like a family. When I was having a terrible time during my pregnancy, they came to my home and built sets right in my bedroom so I could finish the few scenes I had left in ‘That’s the Spirit’. But Columbia—that was work! I did a lot of crime pictures and another horror called ‘The Creeper’. When it was time for those cats to be all over my dead body, I yelled for a stand in. I couldn’t stand having dozens of cats walking all over me. It gave me the shivers!”