Doing stunt work is risky, but it's something I enjoy.

I was a stunt man for 35 years.

One thing I got to do that was awesome was hang off the side of this Ferris wheel and do that stunt myself.

I'm an athlete; I've got an ego when stunt doubles have to come in. Not an ego like that, but when it comes to physical stuff, if I didn't have to have a stunt double, I would always probably do it myself unless the producers were jumping in and stopping me.

Stunt people are amazing at what they do, but they're not actors.

There were a number of people who helped me get there, and the one I always mention is Michael Byrne, the great master swordsman and brilliant stunt double.

The scenes in the show were filmed with a crew of really excellent stunt jumpers, but we had the feel of the parachutes, so we could be more realistic in the roles.

Well one of the times I did a stunt was in the devil's snare room and they lifted me up on a harness and a safety rope really, really high, and they just dropped me down into the devil's snare.

I was raised around a lot of artists, musicians, photographers, painters and people that were in theater. Just having the art-communal hippie experience as a child, there wasn't a clear line that was drawn. We celebrated creative experience and creative expression. We didn't try and curtail it and stunt any of that kind of growth.

I don't remember the first stunt I ever did.

Though hot sauce preferences are personal, I'm pretty open to all styles. All except stunt sauces, that is - you know, sauces that are primarily designed to test your machismo.

The vehicle-stunt world is so specialized. But when you spend so long in it as a stunt coordinator, you're exposed to all the disciplines, so it's always fun to combine the two ideas - a car chase and a fight scene - and make something more dynamic.

On 'Angel' I got to work a lot with Mike Massa, who was David Boreanaz' stunt double, and Mike would let me do most of my stuff by myself. I did almost all my fight scenes by myself.

On 'Black Lightning' I have a stunt double who's a lot younger than me. The fighting style on the show is heavily martial arts-based, and I know boxing; I don't know martial arts. I also have a really bad knee, and he's been doing martial arts since he was 6 years old, so I'm not thinking, 'No, I can do that! I can make that look cool!'

The sensation of writing a book is the sensation of spinning, blinded by love and daring. It is the sensation of a stunt pilot's turning barrel rolls, or an inchworm's blind rearing from a stem in search of a route. At its worst, it feels like alligator wrestling, at the level of the sentence.

I remember hitting Sarah Michelle Gellar with a right hook during my first week on the job. It was awful. They usually pair actors with stunt doubles to avoid things like that.

I grew up in the late '70s. We played outside all day. I think that's where I got the whole notion of being an actor, you know, stunt fighting with my friends.

For a while, I was a flight attendant. I lived in New York, and I was a bartender. I took cooking classes, martial arts classes. I taught a foreign language. I went back to college and studied acting, which I love. I was doing stunt work as well.

I'm a thigh-meat dude. Thigh is just the best meat - I don't get chicken breast. I think it's a publicity stunt that we've convinced people it's delicious.

I couldn't sacrifice my heart for a publicity stunt.