It makes it difficult to decide which to go see, since no film about say, some tragic genocide in Africa is going to get a bad review even if it's poorly made.
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.
There are certainly laws and elements that make a film more accessible to mainstream audiences. If you've got Tom Cruise as a strongman, I'm sure it would have larger audiences, but it wouldn't have the same substance.
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.
Each production has certain circumstances that will bring you to a certain way of making it. It is not intentional, it is not an artistic decision, the way we make films, it is the way we address to our problems.
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.
I feel like I had to learn how to take care of myself and find out what made me happy aside from just making films.
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.
