I said I did not know enough about UNICEF to handle a press conference and she said they would not want to talk about it they would only want to talk about films.
England is strictly class-based. What's surprising is how many films are still made with a load of people in silly frocks running around gardens and talking in middle-class accents.
And I sense it was a rather constructed, almost half narrative fiction film in some ways. A lot of it was staged and manipulated to get those things in there that I knew to be strong.
If you take my performance or my understanding of the role and my appreciation for story and then dress it in CGI, that I guess becomes an action film.
The reality is that I always envisioned the 'Riddick' franchise as a continuing mythology, so I always imagined that there would be many other films to follow.
I approach 'Fast & Furious 6' the same way I would approach a Sidney Lumet film. Getting into character's getting into character.
I used to write bits and pieces of comedy material for various comics that were at the Windmill... as well as my film job, I was under contract, I was allowed to do that and everything.
Film is like football - you join a team, get close to one or two people, then never hear from them again. I don't get emotionally involved. Do one, move on.
When I came up with the character of Wicket for 'Return Of The Jedi', which was my first film, I was a kid of 11 years old, and I basically was playing a very young Ewok.
I discovered that, in order to write a magnificent piece, you should shoot the images because once you are filming, you are writing the script in your mind.
This applies to many film jobs, not just editing: half the job is doing the job, and the other half is finding ways to get along with people and tuning yourself in to the delicacy of the situation.
Gradually the live TV scene simmered out, replaced by film, and that took place in L.A. So many actors left New York.
One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.
If you're having fun being yourself and filming something that you would watch yourself, it becomes contagious for other people to watch, too.
Wanting to be in a Western film won't get me very far. Unless the opportunity arose, it doesn't matter how much I want to be in one. But if an opportunity did arise, no actor would pass it up.
Zhang Yimou is always going to need young, pretty girls for his films. But I don't really concern myself with what Zhang Yimou's next starlet looks like.
With stand-up, I can have an idea, go down the street to a comedy club and work on it, flesh it out, book a venue, people will come, then film it. I do all that myself; I never have to answer to anybody.
I want to write more books, see my first novel made into a film, fight more campaigns, work in more countries. I want to be able to recall experiences that have endured for their pleasure and range and intensity.
I'm a big fan of being able to hold those long shots and use space. I don't know, I think everything's so quick cut these days, as if films are too afraid that the audience is going to get bored instead of relaxing and trusting their work.
I'd like to believe that the people that have supported me in my work or identified with me in films, the people that feel they know me, they do and they don't have misconceptions - they understand. I believe that.
When I talk to some of the younger filmmakers, they are so worried about their films that, eventually, this state of being worried reflects itself in and helps the final work. Whereas, with projects that are meticulously planned, you look at the end ...
